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Back to school McGill
a, Arts & Entertainment, Music

Trib mix: Back to school edition

by Morgan Alexander, Christopher Lutes, Jack Neal on

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Add-Drop is almost over and it can’t be denied any longer—school is back in session. To celebrate the start of the new year (or mourn the impending loss of the warm weather) the staff at the McGill Tribune has compiled 25 tracks that define what back to school means for them. Remeber to scroll down to the end to check out the Spotify playlist and happy listening! 

Donnie Trumpet and the Social Experiment – “Wanna Be Cool”

The movies have always told us that university was the time when kids could reinvent themselves into something bigger and better than their pubescent high school selves. “Wanna Be Cool” is the ultimate anthem that reminds students that when high school is over, it is actually over, and no one needs to be defined by a set cultural standard. It’s a re-education of social prescription that is laid out in smooth yet peppy verses by Chance the Rapper, Big Sean, and KYLE, who neatly cinches up the message with the line: “If a cool guy’s cool in the middle of a forest / Man, nobody fucking cares.”

This track is so incredibly joyful that it’s hard to not want to bounce and smile along. As with many of Chance’s songs, you can hear his smile come through when he raps his opening lines. Big Sean’s verse oozes the honesty that has defined his sound, but he’s able to skillfully avoid the trap of seeming preachy and overdramatic, a necessity for making the lines “Spend all this time for you to say I’m fine / I really should have spent it tryna find myself” sound sincere. KYLE’s verse, as already mentioned, is where the moral of the song shines through over quick beats. The additional accompaniment of Jeremih on the intro and outro along with Donnie Trumpet’s horn provide a well-rounded and lighthearted romp into the often over-contrived theme of loving yourself. Start your day with this track and you’ll feel confident and positive all week.

Morgan Alexander

Lana Del Rey – “Music To Watch Boys To”

Lana Del Rey is not one for sounding upbeat; however, she breaks from her relatively melancholic aesthetic on her fantastic new single, “Music To Watch Boys To” from her most recent album, Honeymoon. On the opening enigmatic line, Del Rey sings “Pink flamingos always fascinated me,” conjuring up images of a hot, tropical paradise. With summer coming to an end and the ever-growing chill of winter present in the air, this song offers a retreat into Del Rey’s warm and languid world.

It’s a summer anthem through-and-through, but it acknowledges the inevitable changing of the season with the lines “Nothing gold can stay / Like love or lemonade / Or sun or summer days.” The pulsing beats and multi-layered vocal tracks evoke a sense of warmth and tranquility but there’s also a definite air of sensuality about it as well. The track feeds to many emotions and moments, tying them all together with impeccably-crafted production and vocals. The song begins slow, but builds near the end, with all underlying beats, synths, and ethereal vocals coming together for a stunning final chorus before dreamily fading out. In fact, if there was a song that was the definition of “dreamy,” this would be it. Best of all, though, is the title of the song itself: “Music To Watch Boys To” provides a soundtrack for lounging, people watching, and enjoying the few sunny days that we have left.

Jack Neal

R.E.M. – “Nightswimming”

As school begins, summer winds down, and the chill of autumn starts to creep into the air, it can help to find solace in memories of the past four months. R.E.M.’s “Nightswimming” lives in this space, looking back to a spontaneous evening of swimming on a quiet end-of-summer night. Realized in beautiful specificity, the lyrics follow the song’s protagonist through a remembrance of that night,from the lowness of the moon, to the “fear of getting caught / the recklessness in wate,r” and further to stolen laughs and whispers in the back of the car with someone close.

Musically, it perfectly captures that late-August wistfulness, with a simple piano melody playing under frontman Michael Stipe’s soft crooning. Towards the chorus, lush strings start to kick in, and the mind can’t help but turn to similar memories of driving home after an excursion, exhausted and exhilarated, making quiet conversation with friends who have shared the experience. What the song understands is that this type of memory is impossible to experience with the same mindset as the past. Naivety and innocence, by definition, are taken for granted and “replaced by everyday.” Life moves forward as people steer their gaze towards the future, getting caught up in the work and stress of the city. And that’s okay. Summer might be ending, but the memories it leaves behind can be enough to get you through the school year.

Christopher Lutes

Lana Del Rey Honeymoon
a, Arts & Entertainment

Album Review: Lana Del Rey – Honeymoon / Interscope & Polydor

by Jack Neal on

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“All I want to do is get high by the beach,” Lana Del Rey croons on the lead single to her newest album, Honeymoon: It’s an aloof and somewhat carefree sentiment that rings true throughout the entirety of the album’s lazy state. Del Rey told the Inquirer that for this follow-up to her ‘70s-rock-inspired Ultraviolence (2014) she was, “ready to go into a more ‘Lucy In the Sky With Diamonds’ surrealist place.” Keeping her promise, Honeymoon sees Del Rey leaving behind the gritty sound of live guitars and echoing drums and replacing them with trap-inspired instrumentals.

“Terrence Loves You” is a stunning ‘50s-esque piano-driven song featuring distorted vocals. “Music To Watch Boys To,” with its understated progression and stunningly interweaved vocals, is one of the finest songs Del Rey has crafted, while “Swan Song” reflects British singer Jessie Ware’s minimalistic material to a tee. But while the tracks are individually succinct, there is a disjointed feeling to the album. For example, it’s hard to believe that the trap-infused “High By the Beach” and string-heavy cover of the 1964 song, “Don’t Let Me Be Misunderstood” are even on the same record.

What is consistent throughoutHoneymoon, though, is Del Rey’s vocals. Her ethereal voice floats from a sultry whisper to soaring croon effortlessly, transforming and bringing to life songs like “The Blackest Day” through her sensual and smoky delivery. But repeated listens reveal some of the lurking absurdity: “You’re so Art Deco / out on the floor […] Baby you’re so ghetto / you’re looking to score” is a prime example of one of many eyebrow-raising examples of the cringe-worthy lines.

Honeymoon is an interesting album. While Ultraviolence saw Del Rey play with tongue-in-cheek lyrics about the way she is perceived, she is much more direct here. “I’ve got nothing much to live for / ever since I found my fame,” she sighs on “God Knows I Tried.” Unfortunately, her oft-too-straightforward lyrical style threatens to leave behind the ‘surrealist’ vibe she was apparently going for. The interlude, “Burnt Norton,” is a case in point: Del Rey mumbles half-formed existential sentences that dance blindly on the surface of attempted philosophical. There is a difference between descriptively eluding to a story or emotion and heavy-handedly blurting it out, and unfortunately Honeymoon is full of the latter. For all of Del Rey’s stated ‘LSD' talk about letting go,Honeymoon feels remarkably constrained, even uninspiring The weighty literary, historical, and pop-culture references within the lyrics don’t quite translate to the same original intention once played out over production this sparse and through lyrics this blunt.

In early interviews discussing the album, Del Rey stated that she had ideas for a song about “shadows passing in front of [faces],” and the album as a whole reflects this vaguely shallow state of existence. Fans will find nuance in the album after multiple listens; for example, the growing progression of instrumentals and haunting background vocals on the fantastic “24.” But whereas the brilliant Ultraviolence oozed a rich, timeless quality, the songs on this follow up are so hazily produced and stretched out in length that the entire album ends up feeling like one long whisp of smoke trailing up into the air. It’s something that’s dazzling in its existence, but lacking no real substance and ultimately vanishing into thin air. Regrettably, while Honeymoon admittedly feels like a grower, it doesn’t feel much of a keeper.

Standout Tracks: “Music To Watch Boys To,” “Terrence Loves You,” & “24”

David Marvin Street Chronicles
a, Art, Arts & Entertainment

Street Chronicles: Impressions of Montreal

by Miray Eroglu on

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Along a crowded sidewalk in downtown Montreal panels of mounted photographs overlook McGill College Avenue. At first glance, the photographs offer a simple glimpse into the past, but on closer look, they are mementos of individual lives that have been touched by the city. On another level, the photographs offer a poignant perspective on the evolution of the city. The black and white photographs offer a moment to take a pause and discover what lies hidden, yet is available for all who wish to look.

The McCord Museum’s current outdoor exhibition, David W. Marvin: Street Chronicles 1965-1975, is a display of Marvin’s finest work. His images inspire a direct dialogue between the past and present, as the viewer engages with the people in the photographs and the city at large.

The succession of images give insight into the development of Montreal through depictions of the city landscape juxtaposed with the simplicity of the everyday experience. Marvin communicates individuals’ experiences in a rapidly transforming city, which makes viewers feel as if they are simply a passerby.

Marvin’s version of Montreal exists through his personal lens as an artist and shines in street corners, alleyways, and busy roads. Marvin—an orphan who came to Montreal as a teenager—worked as a proofreader at The Montreal Star and spent his spare time photographing people and the streets of Montreal. Through his photographs, viewers can catch a glimpse into Montreal life amidst great social changes. The people in his photographs remain anonymous, despite the iconic backdrop of their surroundings.

The 1960s and 1970s marked a transformative time in Montreal, with vast construction and building projects that gave rise to a more urban lifestyle. The succession of images give insight into the development of Montreal through depictions of the city landscape juxtaposed with the simplicity of the everyday experience. Marvin communicates individuals’ experiences in a rapidly transforming city, which makes viewers feel as if they are simply a passerby.

Just as the city is accessible through the photos, so is the exhibit. Seeing the photographs displayed along the street evokes the era when they were taken. Essentially, what was once a contemporary scene can now be seen through a historical lens. The choice of location is a testament to how Montrealers experience city life and the photographs are presented in such a way that allows for individual reflection and pleasure. The exhibit captures the movement and the ever-changing city through a single lens and although the frame remains still, one can feel the individual’s interacting with their surroundings.

Marvin exposes the simultaneous drama and simplicity present in the everyday moment; drawing our attention to the beauty of the present. He brings together a narrative and creates a montage of shared experiences linked together by Montreal and a new urban lifestyle. The photographs are as much a remembrance and look into the past as they are a look into the heart of the modern city.

David W. Marvin: Street Chronicles 1965-1975 will be on display from June 12 – October 18, 2015 on McGill College Avenue.

Street Chronicles: Impressions of Montreal

SSMU McGill
a, News, SSMU

SSMU Council approves creation of ad-hoc committees, review executive reports

by Sara Cullen on

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On Thursday, the Students’ Society of McGill University (SSMU) Council met for the first time this year to highlight recent events on campus, and to discuss the creation of ad-hoc committees.

Approval of motion regarding the creation of ad-hoc committees

Council approved a motion proposing the creation of seven different committees to address issues within SSMU such as club consultation, student engagement, internal regulation review, and finances. The committees will disband once their goals are achieved.

VP Internal Affairs Lola Baraldi, however,  spoke in favour of the committees becoming permanent additions.

“This was mandated for Council last year and was never really followed through with, so I hope that after this year there will be Standing Committees,” Baraldi said.

SSMU President Kareem Ibrahim clarified the decision to make the Internal Regulation Review Committee a temporary one.

“The reason that [the Internal Regulation Review Committee] is Ad-Hoc is because we strive to have general regulations that are consistent and viable and make a society that doesn’t necessarily undergo overhaul on a consistent basis,” he said. “Every time we review [the regulations] there is a little bit of instability that ensues because of having to function with different regulations on a regular basis.”

VP Finance and Operations, Zacheriah Houston, expressed concern over the creation of an Ad-Hoc Finance Committee, as past finance committees were disbanded due to lack of expertise among councillors.

“I feel that the committee was misused in the past,” he said. “[It reviewed] the investment portfolio, which you would need […] accounting experience to do. I would rather see this committee [help] advise the VP Finance regarding resource allocation, for which you don’t need a degree or experience to do.”

Reports by SSMU Executives

Vice-President University Affairs

VP University Affairs Chloe Rourke shared the results of an earlier survey of the student body with regards to instituting a Fall Reading Week.

“The results of the survey sent out in the winter semester showed that approximately 70 per cent of students were in favour of a Fall Reading Week after reviewing the tradeoffs,” she wrote in her report.

According to Rourke, the most preferred tradeoff to makeup for the school days missed as a result of the Fall Reading Week was to have exams held on Saturdays. A proposal will be brought forward to suggest a five-day break that will coincide with Canadian Thanksgiving but will likely not be implemented for another two to three academic years.

Vice-President Internal

Baraldi reported changes in management of this year’s Orientation Week. This year saw an emphasis on inclusive programming and minimization of the impact of Frosh on the community surrounding McGill. Although most feedback was positive, logistical shortcomings occurred on  Beach Day causing many students to arrive late to the event.

“The students who got to Beach Day late were contacted and were offered something to make up for their inconvenience, but they kindly declined, acknowledging the logistical difficulties of running such a large event,” Baraldi’s report said.

President

Following  of SSMU General Manager Jennifer Varkonyi’s resignation the SSMU office has experienced instability according to Ibrahim. Varkonyi will remain with SSMU until Sept. 29, after which an interim general manager will be hired and staff will work on tasks that are normally assigned to the general manager.

“A lot of my work has unfortunately been put on the back burner and may remain that way for a long while,” Ibrahim said.

An external hiring firm will be used to hire a new general manager.

PGSS Thomson House
a, News, PGSS

PGSS Council approves motion to adopt Traditional Territory Acknowledgement

by Josh Dimakakos on

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The Post-Graduate Students’ Society  of McGill (PGSS) came together for its first Council meeting of the academic year this past Wednesday. Several motions were passed including the adoption of a Traditional Territory Acknowledgement Statement, and an increase in graduate student fees due to ongoing legal costs associated with the Canadian Federation of Students (CFS). Council additionally discussed plans for McGill’s financial divestment from the fossil fuel industry.

Traditional Territory Acknowledgement

PGSS proposed a motion to adopt a Traditional Territory Acknowledgement Statement to recognize Indigenous land claims made to the property of McGill University. The statement was drafted in collaboration with Indigenous members of the McGill community, the Kahnawake Cultural Centre and Indigenous Studies scholars across Canada.

“McGill University is located on land which has long served as a site of meeting and exchange amongst Indigenous peoples, including the Haudenosaunee and Anishinabeg nations,” the statement reads. “McGill University honours and respects the diverse Indigenous peoples connected to this territory on which we gather today.”

The motion mandates that it will be displayed prominently on the PGSS website and recited before PGSS Council sessions, meetings, and assemblies.

External Affairs Officer Bradley Por addressed the concern that this statement initially received.

“A lot of that [resistance] has been about the text of the statement,” he said. “I guess [it] was fear of land claims, and there’s really no chance of that happening. The current statement doesn’t specifically say that this is someone else’s land. “

Por also stated that it was the responsibility of PGSS to acknowledge the Indigenous ties that McGill’s land has.

“It’s up to us to recognize the history and the truth of this land and it’s an important statement for us to make as a council,” he said.

Increases in Special Projects, Membership Fees

Financial Affairs Officer Behrang Sharif announced that following PGSS’ withdrawal from the CFS, an organization that lobbies at the federal level for student rights, in 2010, the PGSS budget has accrued a deficit of $611,000. A large part of this deficit comes from the costs of ongoing legal cases PGSS has with CFS.

“In 2010 we decided to get out of CFS,” he said. “We were charged about $120,000 a year for membership in this Federation and they were doing nothing. [PGSS] decided to get out of that Federation, […] stopped paying [membership fees] and started litigation against CFS. “

To address the deficit, PGSS passed a motion raising certain fees for all graduate students. The Special Projects Fund, which was created in response to the need for legal costs, will have its fees raised from $4.60 to $6.60 per semester, and PGSS membership fees will be raised from $32.59 to $35.85 per semester. These increases will be tied to inflation until 2027 and will be implemented starting January 2016.

“In exactly 11 semesters, if we do everything perfectly, we could recuperate that $611,000,” Sharif said.

Divestment

PGSS Environmental Co-Commissioner Victor Frankel expressed interest in reducing McGill’s involvement in the fossil fuel industry. McGill’s current endowment contains significant investments in this sector, including energy companies such as Shell, Chevron, Enbridge, and Suncor. Frankel explained that Divest McGill  has taken a 160-page report and petition concerning divestment to McGill’s Board of Governors.

“We’re moving forward with petitioning the Board of Governors, [who] received our petition last year, to freeze all investments in fossil fuels, which is a tanking economy, but also to consider the petition to divest on grounds of social injury,” Frankel said.

Additionally, Divest McGill will be hosting Fossil Free Week from September 21 through 25, aimed at furthering McGill’s plans to combat climate change.

“We’re going to be having workshops, teachings by professors, special speakers, and indigenous peoples,” Frankel said. “We will also have a march from Community Square to the CBC studios where the [Canadian Federal leaders] will be debating next Thursday.”

Frankel also announced his plans to submit a motion for re-endorsement of the petition towards divestment at the next Council meeting.

a, News, SSMU

SSMU general manager resigned in August, citing personal circumstances

by Aislinn Kalob on

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Jennifer Varkonyi, general manager of the Students’ Society of McGill University (SSMU), resigned in late August after a six-month tenure.

“My decision for stepping down from the role of general manager of the SSMU was made due to personal circumstances,” Varkonyi wrote in an email to the Tribune. “The Executive Committee is working hard on the recruitment strategy. My last day is planned for September 29, 2015.”

The position of general manager, outlined in Article 12 of the SSMU Constitution, is the only permanent staff position to be constitutionally entrenched. The general manager’s responsibilities include consulting on long-term matters of planning and administration, maintaining SSMU’s financial stability, and to assist the SSMU president in managing internal human resources.

“The general manager [is someone] I like to refer to as the institutional memory hub of the SSMU,” Kareem Ibrahim, SSMU president, said. “We have an annual turnover [of SSMU Executives], which is inherently destabilizing. The general manager is supposed to be the person who stays around for at least five to seven years, hopefully a decade at a time.”

Varkonyi was hired in February 2015. She succeeded Pauline Gervais, who retired after serving as SSMU’s general manager for 12 years. Gervais cited the difficulties of the position as part of the reason she chose to retire.

“It was time for me to leave because I was getting tired of starting over year after year […] with new executives and having to train them,” Gervais said. “It is very hard on the [permanent] staff to deal with different people every year, different mentalities and different ways and visions […] because the staff remains there, and the executives are replaced every year.”

Following Varkonyi’s hiring, certain tasks under the job description of the general manager were delegated to SSMU executives or other SSMU staff members in order to lessen some of the challenges she might have faced during the transition period.

"The general manager [is someone] I like to refer to as the institutional memory hub of the SSMU,” Kareem Ibrahim, SSMU president, said. “We have an annual turnover, which is inherently destabilizing. The general manager is supposed to be the person who stays around for at least five to seven years, hopefully a decade at a time.

“The position of general manager has an incredibly steep learning curve, and the transition has historically been challenging," Ibrahim said. “This past summer saw an unprecedented level of work in the SSMU office and we faced many difficulties. We did a lot of shuffling of tasks to try and ensure that no single staff member was met with an unmanageable workload. We regret seeing Jennifer leave, as she contributed a lot to the organization and supported the team during a time when many changes were taking place.”

Gervais explained that she had minimal involvement in Varkonyi’s transition to the position.

“I don't think she had enough training,” Gervais said. “I offered, because I was available to stay with her a couple weeks to do day-to-day stuff [….] For me, it was very, very important that SSMU didn't suffer because of me leaving after that long, but they had chosen not to have me help.”

According to Ibrahim, the hiring process for a new general manager following Gervais’ resignation was rushed.

“The past executive decided to do an internal recruitment and not spend money on an external firm—which is typically the process for positions as big as these,” he said. “That internal recruitment was only done by the president and the [human resources] advisor and the outgoing general manager, which we will be doing differently.”

Although Varkonyi’s last day as general manager is in September, she may stay on in a part-time role through October. SSMU will seek a new general manager through an independent head-hunting firm. SSMU may additionally consult a hiring committee composed of members of the McGill community. In the meantime, SSMU may potentially seek an interim hire to fill the position.

Barclays logo
a, Soccer, Sports

Takeaways from month one of the Barclays Premier League

by Zikomo Smith on

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Month in brief

August saw table-topping Manchester City kill the competition and Chelsea slump to seventeenth place. Manchester United and Arsenal overcame shaky starts to reach second and third, respectively.A mid-table team renaissance, however, saw Crystal Palace, Everton, Leicester, and Swansea nipping at United and the Gunners’ heels. Storied clubs Tottenham and Liverpool were uninspiring. Most teams have been very competitive this month.

Players-of-the-month

Andre Ayew and Bafetimbi Gomis of Swansea have seven goals between them. They terrorized Manchester United in the Swans’ 2-1 victory. Playmaker David Silva has shone brightest amongst the many stars at Manchester City. Riyad Mahrez has been a true match-winner for Leicester City, with four goals to date. Steven Naismith of Everton recently completed a hat-trick against Chelsea and 21-year-old Callum Wilson has been making scoring look easy at Bournemouth with four goals in four games.

Team-of-the-month

Manchester City, undefeated so far this season, stand out from the pack. Winger Raheem Sterling has brought energy to a fantastic attack that previously sported David Silva and Sergio Aguero. The depth that Kevin De Bruyne adds helped City overcome an injury to Aguero and survive against Crystal Palace. Their defence has looked much better than last season due to Vincent Kompany and Yaya Toure returning to form and the excellence of defensive midfielder Fernandinho. City is sharp at both ends of the pitch; they boast the second-best possession and passing completion percentages in the league. They also have the most tackles and interceptions per game.

Deadline day madness

Manchester United paid through the nose for 19-year-old Anthony Martial. No teenager is worth £36 million, no matter how good he may be. City brought in De Bruyne to bolster the league’s best midfield for £57 million. Everton rebuffed Chelsea’s advances for John Stones. Chelsea made no significant moves and Manager Jose Mourinho’s team slumped further from the top four.

Goal-of-the-month

Samir Nasri vs. Everton. Sporting fans live for such moments of grace. At the right edge of the box Samir Nasri passed to Yaya Toure and then glided between two Everton defenders towards the goal. With minimal movement, Toure looped the ball off the inside boot over those two defenders. Nasri collected the ball and chipped the goalie in one seamless, loping bound. Watch the goal with the sound off—there is a sublime and frictionless quality to it.

Champions League Predictions

The Champions League commences on September 15. Arsenal, Chelsea, Manchester City and Manchester United will be representing the Premier League. City has the toughest group containing last year’s runners up Juventus . They ought to make it through the group stage, but defending Europa League champions Sevilla will be a tough matchup. The other three sides should reach the top 16. Can the Premier League teams improve on last year’s disappointing showing? Only City look like they have the quality to go deep in the tournament, given Chelsea’s poor start. Expect Manchester United to have a fiery group stage match against PSV Eidenhoven when Memphis Depay returns to his former club.

Football articles of the month

Here is a list of my favorite articles about the Barclays Premier League that I read this month:

Echoes in Eternity: Which coach has been the most influential of all time?

José Mourinho thrives on tension but after two years it becomes a problem

A pragmatic proposal for FIFA reform

How West Brom secured Salomón Rondón thanks to Vladimir Putin's protectionism

Empress Of Me
a, Arts & Entertainment

Album Review: Empress Of – Me / XL

by Demaris Oxman on

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In the world of electronica, it’s easy for the synthesizers and drum machines to feel monotonous and unoriginal, and for the songs to blend together due to the lack of instruments. Yet Empress Of—the solo project of Honduran-American singer Lorely Rodriguez—manages to avoid this tedium in its debut album, Me. Instead she produces a unique, trippy ‘indietronica,’ combining synths and dance beats with haunting vocals and deep, introspective lyrics.

There’s something hypnotizing about Rodriguez’s arrangements. Layers of swirling synthpop sounds build into a psychedelic experience, almost as if the listener is being dragged through the spaces of Rodriguez’s own mind. Her sonic tapestries range from a sparse framework layered beneath vocals on the album’s opener, “Everything is You,” to a plunge onto the dancefloor at an underground club in “How Do You Do It.” With her deeply intimate and personal lyrics, this sense of seeping nto her consciousness becomes stronger as the album progresses. She explores obsessive romance in “Everything Is You,” reflects on a dying relationship in “Need Myself,” and remarks on her struggle for female independence in “Kitty Kat.”

Ultimately, Rodriguez’s vocal performance is what makes the album. There is an ethereal quality to her voice that transcends the electronic beats of the musical backdrop. It provides a heavy contrast that keeps the songs engaging even when when the arrangements begin to feel repetitive. Her vocal range is dynamic and powerful, and she skillfully uses it as an element of the background arrangement sets her work apart.

True to its title, Me takes its listener on a surreal journey through its creator’s conscience. There are moments when you can hear Rodriguez’s inexperience, but her indisputable talent shows through. Me is a strong debut album, and we can be sure of hearing more from Empress Of in the future.

Standout tracks: “Everything is You” & “Need Myself”

Dan Bejar Destroyer
a, Arts & Entertainment

Album Review: Destroyer – Poison Season / Merge

by Caleb McKend on

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Since the mid ‘90s, singer-songwriter Dan Bejar’s Destroyer project has always been flooded with comparisons to the great rock music of yore. From Leonard Cohen and David Bowie to Roxy Music, Destroyer’s constantly shifting sound always finds a way to invade a new, name check-able era while still seeming fresh, thanks in large part to Bejar’s secret weapon: himself. Carrying a theatrical swagger on stage and record, Bejar comes off less like an indie rock musician and more like a poet unstuck from time. On the tenth Destroyer record, Poison Season, the frontman/maestro fully commits to forging a bombastic sound.

The album adds blaring saxophones and atmospheric string sections which, when combined with the occasional disco production or Latin drumline, give way to comparisons to everything from glam Bowie to a spy thriller soundtrack. The album never feels small, though it lurks in the shadows as much as it blasts. Standout brooding tracks like “Girl In A Sling” and the “Times Square, Poison Season” bookends are buried in atmospheric strings and piano, though it’s the louder tracks where Poison Season really shines. Look no further than “Dream Lover,” bursting out following the subdued first track without hesitation, an absolute steam roll of Springsteen-esque energy that never lets up. It’s almost unfair to have it sequenced so early, as nothing else on the album matches its intensity.

In front of his band, Bejar is still undoubtedly the star. Packing his lyrical tropes of impossibly romantic imagery and characters, Canadian indie rock’s great curmudgeon has never sounded quite so much like a frontman. He has fully embraced the theatricality that got him here, allowing the seething conviction in his vocals to shine. Bejar channels love and disdain almost interchangeably. On “Dream Lover” and “Times Square” he’s leaving his troubles behind and embracing the idealism of both people and places, only for the same concepts to begin decaying later on; both moods are stuffed with equally beautiful imagery.

This is the first Destroyer album following the surprise success of Kaputt and, with all its drama and grandiosity, Poison Season seems like the perfect reaction. It works as both a primer for what Bejar and company. do best, but features some of the project’s crispest production and a freshly dynamic vocal performance to light a fire under old fans. The album’s third and fourth acts do tend to get tedious, especially when Bejar’s vocals take a break in favour of extended instrumental stretches. Despite this, the record remains a showcase of one of modern music’s most delightfully enigmatic figures embracing his own cult of personality to great returns.

Standout Tracks: “Girl in a sling” & “Times Square, Poison Season”

Beach House Depression Cherry
a, Arts & Entertainment

Album Review: Beach House – Depression Cherry / Sub Pop & Bella Union

by Greta Rainbow on

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From the first notes of intro track “Levitation,”indie rock duo Beach House delivers the same silver breathy vocals and distant tambourine that exemplified their first release. Depression Cherry is soft and enveloping. It’s a good album, but less so in the context of past Beach House masterpieces. After the 2012 release of Bloom, it was clear that Victoria Legrand and Alex Scully had floated from their early work into something still recognizably ethereal, but this time deeper and stronger, like a first lucid dream experience.

The lyrics speak to universalities that are felt in the smallest ways: “In the night we sleep together / The walls are shaking in their skin.” Each track remains a distinct piece with an open narrative. Bloom was a triumph; its pulsing drums and twinkling synths offered the euphoria one feels on a playground swing at the moment when the body is lifted from the seat to be level with the treetops. Depression Cherry is the fall back to the resting position.

Legrand’s voice is no less hypnotizing, but with less experimentation from track to track, the album becomes a rather monochromatic and melancholy exercise in dream pop. Even the subject matter, in all its ambiguity, suggests the stability of a long-term relationship as opposed to the all-absorbing emotions of new love and heartbreak felt on previous records. Beach House is still transporting us to a dream state, but this time it feels more like they are pulling our eyelids down, rather than lulling the listener into tenderness.

Standout Tracks: Leviathan, Sparks

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