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CRi Osheaga 2015
a, Arts & Entertainment, Music

CRi looks at the present and the past

by Chris Lutes on

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Montreal-based duo CRi just passed another milestone for local artists: Performing at Osheaga. Comprised of Christophe Dubé and Ourielle Auvé (during live performances), the electronica group formed in 2013. Their sound is reminiscent of early James Blake, with clipped audio samples looping over synth beats and droning organs. There’s an inherent darkness to their music, but the most interesting part of their sound is the moments of levity that shine through. This becomes especially apparent in their live performances, where their inhibitions seem to fade away as they get lost in performing. Perhaps this is why, unlike many electronic musicians, the duo prefers the live stage over the studio.

“You can just be so close with the people in your music,” Dubé said. “When you produce music in the studio, it’s more abstract. It’s not like [the] real thing.”

 With a more explicit audience to tend to, the band has to adjust their performance to the feeling they get from the crowd. Through previous live performances, they’ve developed a keen sense of how they want their music to come across.

“[The goal is] to create an energy and a flow that you totally control,” Auvé explained. “In the beginning, it’s very calm and mystical, and the bass starts to push very hard and it’s more dance-y […] it’s a build up.”

They built this sound at the Université de Montréal’s digital music program, where they first met. After graduating, the duo further branched out into the growing community of Montreal-based electronic artists, but have yet to notice a regional fixation on one type of electronic music.

“Technically, it’s very helpful to study [digital music] at a university—all of the philosophy about how to make music, how to share your sound with people” Dubé said.“I think there is no Montreal electronic sound. It’s more like different people from different places in the world come to Montreal to make music.”

The fact that CRi’s sound isn’t limited to any sole subgenre of electronica is indicative of this. Although they admit to benefit from the influence of their peers, the band has also paradoxically been able to use their experience as a means of asserting their musical independence.

“You see people with different backgrounds and [it] kind of makes you go in your own direction,” Auvé said.

Pierre Kwenders
a, Arts & Entertainment, Music

Defining Pierre Kwenders

by Morgan Alexander on

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On stage, Pierre Kwenders is a firecracker. He moves non-stop—dancing to the rhythm of his set, laughing between verses, and engaging his guest performers in a three-way can-can. Yet in person, the energetic persona fades, and he is much more reserved.

“In real life I’m not Pierre Kwenders, I’m José Louis,” Kwenders stated behind thick, circular sunglasses. “On stage I’m freaking out and jumping around but in real life I’m a quiet guy.”

Kwenders was born in 1985 in Zaïre—now the Democratic Republic of the Congo—where he lived until immigrating to Canada at 16. Despite having now lived in Canada for 14 years without having yet returned to his home country, Kwenders maintains prominent links to his home, both on stage and off. When performing, he displays what he calls the “flag of the [Pierre Kwenders] PK Nation,” an emblem laden with Central African imagery.

“I was born when it was Zaïre and I really really like that flag,” Kwenders claimed. “Those two countries, [Angola and Zaïre], are part of the Bantu Empire, so I wanted to have that link between the flag and the idea of the Bantus.”

There’s a lot of people out there who just love music and they don’t care. I think we should just let people decide what they like.

Kwenders makes a conscious decision to blend different histories, regions, and sentiments in his songs in a way that makes people feel at ease.The process behind it is undeniably effortless, and can best be understood in Kwenders’ description of how he decides which language he should use for his lyrics (he performs in five languages in total).

“It’s natural, it [comes] when I hear a sound and that sound inspires me to sing in a specific language,” he explained. “For instance, in ‘African Dream,’ which has a lot of percussion, that reminded me of one of the languages in the Congo, which is Tshiluba.”

Despite performing in so many different languages and incorporating a myriad of different melodies—from Congolese Rumba to electro pop—in his music, the end product is designed to be approachable and unifying. Most of Kwenders’ songs focus lyrically on “love, happiness, peace, and some sadness,” but it’s not the lyrics that Kwenders wants to emphasize; rather, it’s the feeling a listener gets.

“[I] was listening to a lot of Michael Jackson and didn’t know a word of English, but I was feeling something out of it,” Kwenders remembered fondly of his childhood, a goal he tries to replicate as a musician. “If with my music I am able to make people feel the same way of when I was young listening to a foreign singer and not understanding a word […] then that’s the most important thing.”

Pierre Kwenders’ music, then, is worldly in nature: It pointedly draws on sounds from across the world and blends them into relatable songs for anyone listening. But, according to Kwenders, it is not ‘World Music’, and should certainly not be categorized as ‘World 2.0,’ a term used to classify popular music that originates in Africa. If he had to classify it at all, he would call it “afro-futurism.”

“The best way [to classify music] would be just to put everybody in the same category,” he explained. “There’s a lot of people out there who just love music and they don’t care. I think we should just let people decide what they like.”

Kwenders’ unifying sound is gaining traction in Canada—he was a shortlisted nominee for the Juno Award for World Music Album of the Year and a longlisted nominee for the 2015 Polaris Music Prize. For Kwenders, it’s less about the recognition the music brings and more about what the music creates—a screaming, energetic crowd at Osheaga, for instance. This raw commitment to the essence of music, combined with Kwenders’ clear talent as a writer and performer, should make him a household name.

“You have to find your own place, and find your own identity in the world,” Kwenders said. “Music is a sound, it’s what you do with an instrument, it’s what you play. Whatever sound comes out, it is still music.”

Lindi Ortega
a, Arts & Entertainment

Album Review: Lindi Ortega – Faded Gloryville / The Grand Tour Records

by Jack Neal on

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Full-fledged country music has historically been dominated by those native to the southern United States. In fact, only a handful of geographically ‘outsiders’ have successfully transitioned into the genre, the most prominent on the list being Shania Twain and Keith Urban. Canadian singer Lindi Ortega, with the release of her newest album, Faded Gloryville, shows that she may soon join that list.

After moving to Tennessee a number of years ago, the Toronto native has released a string of well-received studio albums that show her progression as a vocalist and songwriter. Faded Gloryville, maintains her well-crafted melodies, powerful songwriting skills, and signature vocals that initially established her as a prominent up-and-comer in country music. Opening track “Ashes” sets the scene for the rest of the album with themes of heartbreak, loneliness, and nods to the ever-fading glimmer of idealized small-town life. “You come to set my heart on fire / But then you just left it to burn,” she sighs, before hopefully begging her lover, “Please don’t leave me in the ashes of your memory.”

“Somebody Seen,”perhaps the most Dolly Parton-esque song in the album, deals with the sad realization that the person you love might not be ‘the one’ after all: “I’ve been spending all my nights on someone that just ain’t right.” Ortega then channels a more mature version of Taylor Swift vibe in “I Ain’t the Girl,” lyrically putting her lover in his place. Her most lyrically powerful track comes, however, from “Run-down Neighbourhood,” in which Ortega evokes a sense of wistfulness and living in the moment despite sad surroundings. “You can have some of my weed / If I can have your cigarette,” she humorously sings, before admitting, “Maybe we’re both a little messed up / but maybe that’s understood / So we’ll get messed up together in this run-down neighbourhood.”

Ortega’s striking vocals combined with her knack for storytelling is heavily reminiscent of the socially combative country music that arose with Parton in the mid 1970s, a possible byproduct of Ortega’s outsider status. Even when the love-focused songs in the middle of the album begin to drag, her voice soldiers on, floating above the country-infused instruments. Faded Gloryville provides a heavily refreshing and rewarding listen from an artist who is constantly evolving.

alt-j
a, Arts & Entertainment, Music

alt-J on fame and staying the same

by Jack Neal on

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Despite being one of the most surprising success stories for indie-rock bands in the past half decade, alt-J are the definition of down-to-earth. Having released their debut album, An Awesome Wave in 2012, the band received multiple nominations at both the BRIT (2012) and Grammy Awards (2015), and won the coveted Barclaycard Mercury Prize (2012) ,which celebrates the best in British music each year. Despite their worldwide critical and commercial success, the London-based band have remained humble throughout their journey from underground indie group to festival headliner.

Sitting under a tree, casually perched on a picnic table just hours before they are scheduled to take the stage at Osheaga, band members Gus Unger-Hamilton (keyboard/background vocals) and Thom Green (drums) are both at ease. Wearing simple black t-shirts and sweaters, the duo comes off as extremely laid back and unassuming for ‘rock stars.’ There are no special seats, no crazy equipment: Just the two of them and a packet of chips—or “crisps”— as they call it.

McGill Tribune (MT): I saw you back in September 2012 when you played a concert at Cafe Campus, obviously today the crowd is quite a bit bigger than it was then. How has it been as a band and as individuals from then to now?

Gus Unger-Hamilton (GUH): Well it’s been a gradual process, you know? People always ask us “What is it like to have this meteoric rise?” and I mean it doesn’t necessarily feel like that to us because we’ve been doing it everyday, so it’s just been going up stage by stage.

Thom Green (TG): It’s made a lot of sense, you know? Because we’ve worked for it and certain things have helped us along the way. You can never explain why music is really successful or why people like it, but at the same time when we go home at the end of this tour and take time off it’ll be surreal. It definitely feels like a big chapter, a big difference. I feel like a different person than before we started becoming successful, but we’re kind of used to it as well so it’s weird.

MT: Did the reception of the second album differ from that of the first having already released An Awesome Wave in 2012?

GUH: For the first album there was no expectation for us at all really: No one really knew who we were. I mean we were quite a sort of "hype-y" band, but not in a massive way, and then the album came out, and it actually sold quite well really. You know like it got in the top 20 and stuff, but nonetheless, everything was like a bonus back then for us. Whereas for the second album there was so much more expectation I think. It was like an event that people were really anticipating I suppose, so it’s definitely a different vibe.

MT: There were publications, such as the Rolling Stone, who didn’t review the first album but did the second. Was there any pressure felt in the lead up to the release of This Is All Yours?

TG: We didn’t really feel any pressure at all, no. I think leading up to it, and we were going to start [recording] it again, there was a bit of a build-up: We were a bit unsure of how it was going to go. But pretty quickly we realized it was pointless worrying about it: We knew we were going to do it, we’re doing it anyway, you know, so we might as well just forget about it. Luckily we were writing good stuff and we liked it, I mean it could have been a different story if we were struggling but it was pretty good.

MT: So you’re obviously not only recognized here in Montreal, but you’ve had international success and recognition by the Grammys and the BRITs. How does the recognition feel and has it changed you as a band?

TG: It’s nice, it’s really nice. It’s, you know, I still think of us as a very close band. We have a lot of control, we know what we are, and we know what we want, so it’s really nice to know that we still have that and know that we can still be in that kind of arena at the Grammys and that kind of thing. It’s good; it’s good for bands like us I think and music like ours, I mean from one small—or tiny—but good label in the U.K. I often wonder if we get those kind of recognitions because it’s good for the industry maybe, because you know they have to keep that kind of balance, I’m not sure. All that kind of stuff is a bonus really; we never aimed for that kind of thing, so it really helps.

MT: So the Grammys recognized you as ‘alternative,’ but historically your music has been relatively hard to define. How would you personally describe it?

GUH:[Laughs] We always try and avoid this question in a way—but no it’s fine! It doesn’t really matter to us really how it is described that much, and I think it’s becoming less and less relevant to put labels on music, you know? I mean I think it’s becoming less and less relevant to put labels on music. Now, rather than having to persuade somebody to buy an album based on the type of genre you can just stream it or listen to a track on YouTube and stuff. I suppose to the classic taxi driver question of “So what do you do for a living, mate?” [we would answer] we’re in a band. What sort of music? Indie, we sort of tend to say Indie or something, I don’t know, experimental?

TG: I suppose it is sort of experimental in the way that we write, but it’s also quite methodical as well. We always have just written what we like, so whatever that it, it just is what it is.

[URIS id=35389]

MT: How did you envision the interludes in your albums contributing to the overall experience?

GUH: It was always important to us to make albums that were really definitely albums, that were single pieces of work. And I suppose the interludes help to make it that, to make it more of a piece that you can listen to in a certain order. Then it isn’t just all our best songs to date crammed together into a less-than-one-hour-long compilation.

TG: It’s nice for us to be able to make an album as a piece of work, but the songs as well, we really try to make them interesting. Interesting is important. We were quite aware that people were going to hear it and we wanted people to like it, obviously, but we want to try and challenge things a little bit. But that usually is between ourselves when we’re writing in the studio. It’s only us and our producer and that’s it. We don’t really let people come in and sit there and, you know, we’re very private with it. So we’re very lucky that we can do that.

MT: Band image and aesthetic is clearly important—based off of your videos and album covers. I mean, An Awesome Wave’s cover is three overlaid images of the River Ganges. How do geographical places, names, and imagery influence you as a band?

GUH: We have a lot of imagination as a band, you know? Travelling doesn’t necessarily have a huge influence on the songs we write, but I suppose equally we are inspired by imagery.

TG: I think we are quite good at finding things that have shaped us and molded us and interpreting them in different ways, especially with the lyrics and things. It isn’t really massively important to us, the names of the songs and all that. There is no kind of overall concept with that, I think it always comes back to the fact that we are just quite a simple band really.

Editor’s note: This interview has been edited for clarity.

Photos by Jack Neal

Mac Demarco
a, Arts & Entertainment

Album Review: Mac Demarco – Another One / Captured Tracks

by Jack Neal on

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Brooklyn-based indie artist Mac DeMarco has a knack for crafting effortless-sounding songs. His debut album, 2 (2012), and follow-up Salad Days (2014) played heavily on a hazy aesthetic that was the definition of lazy Sunday-morning music. On Another One—a ‘mini LP’—DeMarco is unable to progress from his initial sound sound; now, however, the songs are lyrically weighed down by an encompassing sense of emotional loss or love-torn lyricism.

While the title track is meant to focus on bad relationships and affairs, “Another One” might as well just reflect DeMarco’s sentiments towards the album as a whole: Just another one to release, a selection of songs that failed to make it onto the aforementioned mostly-brilliant, Salad Days.

There is no denying that Demarco is a good songwriter—his melodies are poignant and undeniably unique to his genre—yet he fails to outdo his main competitor: Himself. Although meticulously crafted, the songs on Another One are so similar in production that they all end up falling into a hazy and rather melancholic set.

It’s a shame, because the LP does feature some superb tracks. On its own, “No Other Heart” is heavily reminiscent of ‘70s drive time alt-rock; but when it follows the songs preceding it, it drowns in a sea of similarity. In addition, “Just To Put Me Down,” “A Heart Likes Ours,” and “I’ve Been Waiting for Her,” should be three independently strong songs, but all end up fading into a background of wistful and mournful atmospherics that rely on guitars, distorted vocals, and an underlying base piano tune.

There’s an easy response to DeMarco’s lyrical plea of, “Feeling so confused / Don’t know what to do.” Shake things up in the production department, and don’t let the ‘70s-infused rocker shtick be a musical weight. Unfortunately for DeMarco, this advice comes too late, and Another One produces only one clear takeaway: It’s just more of the same, but less.

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Osheaga 2015 recap: Day three

by Jack Neal on

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With the sun shining high in the sky, thousands of fans eagerly made their way through Parc Jean Drapeau to their favourite acts. With a fabulous set of artists lined up, festival goers appeared in good spirits, dressed in tanks, shorts, and rocking their pair of raybans—the final day of Osheaga began and finished on high notes.

Father John Misty

In one of the most intriguing performances of the day, lead singer J. Tillman made his way through an extremely well-executed set on the River Stage to a surprisingly large crowd. Moving across the stage and down into the crowd, there was almost a sense of Fleetwood Mac in the way he performed, with his hands and arms constantly moving and up in the air, reflecting the setlists’ wistfulness. He humourously apologized halfway through the set “to all the people who’s ecstasy is just kicking in now”, before diving into a cover of Bruce Springsteen’s “Born In the USA” to the crowd’s delight.

Future Islands

With his fairly odd and raspy signature vocals, Samuel T. Herring of Future Islands led his way through an hour of some of the band’s best songs, playing to the crowd and getting them engaged from the beginning. Between the pounding of his chest and bizarre ‘dance’ moves, Herring’s voice roared over the synth-pop sound that the band is known for. Somewhat romantic, the songs were nothing short of stunning: The sound quality was fantastic, and all the instruments complimented each other magnificently. Herring is a man who lets it all out on stage, and highlight song, “Seasons (Waiting On You)” provided for the perfect sing-along moment the crowd seemed to have been longing for.

Osheaga Charli XCX
(Jack Neal / McGill Tribune)

Charli XCX

In arguably one of the most energetic performances of the day, Charli XCX celebrated her 23rd birthday by blazing her way through her 50-minute consisting of insane dance moves, a massive blow-up guitar, which she ‘played’ during third song, “Breaking Up,” and a continuously excited stage presence. Never short of sass and attitude, the British punk rocker pleased the crowd by playing some of her best-known songs (“Boom Clap”) as well as “I Love It.” But it was her lesser-known songs that really stole the show: “Hanging Around” provided one of the best dance parties of her set, while “Famous” upped the energy with the release of dozens of inflatable bouncy balls. A fantastic and clearly enthused performer, Charli XCX commanded the crowd’s attention through her set.

Edward Sharpe & the Magnetic Zero’s

Edward Sharpe & the Magnetic Zero’s provided an extremely cohesive and interesting performance, despite having seemingly a dozen members on stage. Dressed in a cut-up tank and baggy white pants, lead singer Alex Ebert pranced around the stage and engaged with the crowd on multiple occasions, the most notable of which was brought to life by asking a random member of the audience to come up with a verse to the song, “40 Day Dream,” which went something like: “Today is the best day of my life / Alex Ebert is the man!” While the energy of the band never ceased, the crowd’s energy did begin to die midpoint through the set; however, when the band brought onto the stage—through the crowd—a man in a wheelchair, the crowd went wild. After allowing the fan to make a quick speech during the middle of their standout song, “Home”, there were tears in some people’s eyes.

Broods

This New Zealand brother and sister duo produce music, on record, that is nothing short of complex; however, that same level of complexity didn’t quite translate into a live setting—especially at a festival as large as Osheaga. While lead singer Georgia Nott’s vocals were impeccable, and brother Caleb provided sufficient instrumentals to support her, the band’s sound never quite managed to leave the ground. They are hugely likeable but they seemed to pack much less into their 50-minute set than Charli XCX was able to in hers—an increase in their energy and possibly a more varied setlist would create a more uplifting atmosphere.

Osheaga Alt-J
(Jack Neal / McGill Tribune)

Alt-J

One of the most resounding entrances of the evening belonged to Alt-J. Even before Edward Sharpe had finished, people were already making—or pushing—their way across to the adjacent Mountain Stage, getting in position for Britain’s most surprising indie-rock band success story this past decade. Despite their relatively low-key aesthetic and performance type, Alt-J commanded the stage in totality, making their way through a single-studded setlist including opener “Hunger Of the Pine,” “Dissolve Me,” and “Bloodflood.” Set highlight “Something Good” proved to be one of the most memorable moments of the night—as the pitch shifted during the chorus, the majority of the crowd were swaying, eyes closed, hands in the air, totally lost in the moment. The band, adorkable in their own way, made few comments to the audience, but each was heartfelt, thanking the audience massively for their participation in the singalong choruses, and even for their success in general. Accompanied by black-and-white footage of the band on the screens either side of the stage, the band closed off their fantastic set with crowd-pleaser “Breezeblocks,” to which the line, “Please don’t go,” sung over and over by the audience, seemed an incredibly appropriate way to end.

Missed out on day one or day two? Don’t worry, we’ve got you covered. Also stay tuned in the coming week for exclusive interviews with some of the acts that wowed this year at Osheaga 2015.

Osheaga
a, Arts & Entertainment, Music

Osheaga 2015 recap: Day two

by Morgan Alexander on

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Day two of Osheaga began with a single hitch. While Osheaga employees rustled festival-goers into the event with the enthusiasm of camp counselors, Action Bronson cancelled his performance last minute due to “travel issues” that may or may not have been related to an incident in Toronto. In spite of gloomy weather forecasts, the day was sunny and breezy until about 6:30 p.m., when the rain hit hard and turned the crowd into a mess of mud and ripped ponchos. Here’s your recap for day two:

The Rural Alberta Advantage provided a strong opening performance, starting off with an upbeat set laden with gratuitous thank-yous and we’re-so-excited-to-be-heres. The early crowd was lithe and energetic, bouncing along eagerly.

Leikeli47 brought girl power and raw energy to the stage, rapping non-stop under her ski mask between pauses and exclamations of “oh baby.” While Leikeli47’s backup dancers, also donning masks, jammed enthusiastically to her beats, her hype man kept the crowd revved to a crushing bass and instructions to throw their middle fingers up during “Fuck This Summer Up.” The set ended as positively as it began, with the rapper asking everyone to squish together so she could take a photo with the crowd.

Carte Blanche À Karim Ouellet lived up to their name, providing a 50 minute set that, while consistently fast-paced and enthusiastic, was a confused jumble of francophone sounds. Everything from indie-pop to grunge rap was produced by the group which fluctuated from seven to 12 people on stage at any given time. The early crowd didn’t seem to mind.

 

 

Interview w/ @seoulmtl to be published soon! #osheaga #osheaga2015 #MTL #montreal #seoulmtl #day2

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Seoul’s atmospheric sound and synth overlays drew in a slowly swaying crowd like flies to honey. Happily proclaiming that this was their first official music festival, the band jammed comfortably to the throngs of flower crowns and glitter tattoos, providing a mellow—but certainly not sleepy—change of pace to the first half of the day.

With Action Bronson gone, festival organizers made a quick change in schedule, introducing Narcy with Yasiin Bey (of Mos Def) to the stage. The crowd seemed more than happy at the change and chanted wildly during the set, only to be rewarded later in the evening with Bey's reappearance during Kendrick Lamar’s headlining performance a few hours later.

St. Vincent gave an unsurprisingly theatrical performance. Donning a holed-out black jumpsuit, the singer jerked and swayed to her music, gearing up the crowd for the star-studded second half of the day and reminding everyone why Saturday was the first day to sell-out.

 

 

Pierre Kwenders / Osheaga Day 2 #osheaga2015 #osheaga #pierrekwenders #music #MTL #montreal

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The most up-lifting and enthusiastic performance of the day came from Pierre Kwenders. The singer and rapper bounced and danced to his self-described afro-futuristic sound, smiling heavily and enthusiastically inviting two guest rappers on stage. Two-thirds of the way through his performance, the crowd nearly doubled in size when Kwenders’ DJ, Funky Falz, blasted a remix of the intro theme to the Lion King.

Milky Chance gave the most unintentionally humourous performance of the day. The duo from Germany attracted a massive throng of people, many of whom had just arrived at Parc Jean Drapeau. The crowd yelled excitedly to the singer and danced along aimlessly. When Milky Chance began the first few chords of “Stolen Dance,” the previously silent crowd (in terms of singing-along) broke into song to join the singer in the one track they actually knew the words to.

Starting just five minutes late, Nas took the stage to a swarming crowd of screaming people. As his DJ hyped up the crowd, Nas, rap legend, took advantage of the enthusiasm and encouraged multiple sing-a-longs, breaking to talk about being inspired by NWA and Ice Cube and how he dropped his first cassette tape in 1994. The crowd was excited, though struggled to remember the words to his songs. Half way through the performance, rain poured down and while Nas kept a significant portion of the crowd focused on him, throngs of people ran for shelter away from the main stage, hoping they would dry off and warm up before the headlining events.

Stay in the loop, first read our coverage of Osheaga day one and come back tomorrow for our coverage of day three.

Osheaga
a, Arts & Entertainment, Music

Osheaga 2015 recap: Day one

by Chris Lutes on

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Somewhere in between the beautiful and the profane is the Osheaga Festival Musique et Arts, back for its 10th time. This is to be expected from a festival that has to cater to both its corporate sponsors and a large base of young, passionate music fans. The Tribune is attending all three days of the festival. Here’s your recap for day one:

CRi, a local Montreal duo, kicked off the festival. Playing a set much more upbeat and dancier than their recorded content, they gave a more energetic performance than a cerebral electronica band has any right to. 

Iron & Wine with Ben Bridwell (of Band of Horses) were next, playing a series of covers from an album that they released together. Their sound was well-balanced—each song alternated between sounding more like Band of Horses or more like Iron & Wine. Their contrasting styles complemented each other more than expected. A fantastic backing band—complete with piano and slide guitar—added an extra layer of authenticity.

Run The Jewels, were, as expected, incredible. The rap duo played to their usual strengths of handing off verses to each other with ferocious intensity. Killer Mike was charmingly self-effacing in his banter between tracks.

Angus and Julia Stone, an Australian folk duo, were another standout. On “Big Jet Plane,” they showed their ability to go past typical indie folk trappings, creating a soundscape full of lush guitars and synthesizers. “A Heartbreak” was another gem, with the pair speak-singing over a thumping rock beat that tore the house down.

 

 

 

Photo by @la.benoit ft. @angusandjuliastone #osheaga #osheaga2015

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The biggest surprise of the festival was Marina and the Diamonds, who shot onto the stage with a punk-infused rendition of “Bubblegum Bitch” in a blue body suit and pink platform heels. Over the next few songs, her music proved to be incredibly versatile—jumping from genre to genre and skirting up to high notes that I didn’t know were possible to hit. Of all of the performers on the first day, she was the one who looked the most excited to be there.

After a disappointingly apathetic performance from The Kills, The Avett Brothers reenergized the crowd with frenetic country music. Their retro feel is apparent in everything from their genuine reverence for the country and blues standards that they’re influenced by to the banjos and upright basses that they play. However, their sound is also full of modern elements like catchy hooks and anthemic choruses. This contrast gives them a sound that is rooted in both the present and the past but beholden to neither. All of the band members gave off an infectious sense of enthusiasm that seemed to radiate outward into the crowd.

 

@fkatwigs @osheaga // #fkatwigs #montreal #MTL #osheaga #osheaga2015 #regram

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With synth-y, dreamlike melodies and plumes of fog bellowing across the stage, FKA Twigs seemed ready to bring the festival into the night. Then the lightning started. Wind picked up and blew cold across the field, kicking up dust, but the British singer-songwriter didn’t seem to notice as she played most of the songs from her fantastic album, LP1. There’s always a worry that electronic artists won’t be able to replicate their sound on a live stage, but that was not the case here as she drew on her earlier career as a background dancer to glide across the stage in fluid motion. 

Make sure to come back tomorrow for a recap of day two.

'world cup canada women
a, Opinion

The greater goal of the Women’s World Cup

by Emma Avery on

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It amazes me when girls, many of whom play soccer themselves, say matter-of-factly that they do not like watching women’s soccer as much as men’s. Perhaps those who watched this year’s Women’s World Cup, held in Canada, might now say otherwise, yet by simply looking at my own experiences, it’s not hard to guess at where this bias comes from. I have played soccer my whole life, yet could not name one professional female player until five years ago. No one talked about female teams or players, games were rarely televised, and athletes’ faces weren’t plastered over Nike and Adidas ads in the same way that their male counterparts were. I knew they existed somewhere, but nothing more.

”To a greater goal,” read the official slogan of this year’s Women’s World Cup because somehow, the female equivalent of the world’s most popular sporting event can’t muster anywhere near the frenzy and fever that follows its famed male counterpart. According to FIFA, the U.S. Women’s National Team’s opening group game drew 3.3 million television viewers—only an eighth of the 24.7 million who watched the U.S. Men’s group stage match against Portugal at last year’s World Cup. It’s no secret that millions of people worldwide share a passionate love for the beautiful game, so why don’t they feel the same passion when it is played by women? This discrepancy is an obstacle that must be overcome through greater investment and media coverage, not vague platitudes.

An example of inequality in the game was physically manifest at this year’s World Cup, which was played on artificial turf—a surface generally regarded as inferior and more conducive to injury than natural grass. By contrast, when Manchester City of the Barclays Premier League travelled to play the Vancouver Whitecaps of the MLS in 2011, the whole turf field was replaced with grass for just one friendly; however, for the most important women’s soccer competition in the world, FIFA made no effort to change Canadian fields to grass, despite protests from athletes.

If women’s soccer fades into the background after this tournament—only talked about every four years during the World Cup—nothing will ever change. 

Although FIFA is partially to blame, the discrepancies between perceptions of and support for men’s and women’s soccer have more to do with gender inequality in sports. Quite simply, women’s soccer receives less support, coverage, and interest than men’s soccer, despite the fact that female soccer players train equally hard and compete for the same achievements in the same game. While the number of viewers for the World Cup Final surpassed 25 million, the victors walked away with $2 million USD, a paltry sum when compared to the $35 million that the German Men’s National Team made for winning last year’s World Cup.

If women’s soccer fades into the background after this tournament—only talked about every four years during the World Cup—nothing will ever change. But a sign of hope for a greater future could nevertheless be seen at this year’s World Cup. For one thing, you couldn’t help but notice how many children—a lot of girls, but also many boys—were present, proudly decked out in their own local uniforms. For them, women’s soccer is tangible , and it is exciting. The vibrant, sell-out crowd of 54,000 that watched Canada’s heartbreaking quarterfinal against England is surely a sign that if upcoming generations are as exposed to women’s soccer from a young age as they are to men’s, perspectives will continue to shift.

Looking beyond this year’s World Cup, female athletes need to continue to inspire future generations and the media needs to  give them the coverage they deserve. This will require improved support from media organizations and sponsors as well as from athletes’ national soccer institutions. The talent on display at this year’s Women’s World Cup showed that love for the beautiful game is no reason to discriminate between genders.

Tame Impala Currents
a, Arts & Entertainment

Album Review: Tame Impala – Currents / Interscope

by Jack Neal on

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Tame Impala’s previous two efforts, Innerspeaker (2010) and Lonerism (2012), were widely talked about pieces of work that pushed the boundaries of psychedelic rock into previously unexplored territory. On their third studio album, Currents, lead singer Kevin Parker has perfected his knack for crafting exquisite melodies layered beneath his own Passion Pit-sounding vocals. This album gravitates towards soft rock, resulting in a polished ‘70s sound that feels much more relaxed than his previous work.

The songs here feel airy: Both the production and Parker’s vocals are noticeably less constrained than his previous albums, with the songs consisting of multiple parts and shifting melodies. Seven-minute-long album opener, “Let It Happen,” is an almost funk-derived tune, with huge guitars and vintage synths. Lead single, “‘Cause I’m A Man,” is a stunningly laid-back track featuring soaring vocals, while the truly impeccable song, “The Moment,” is heavily reminiscent of Jessie Ware’s 2012 album, Devotion.

The record is made even more intriguing with the themes and production of the songs reflecting the ill-fated themes brilliantly. For example, “Reality In Motion”—the song most similar to the band’s past work—deals with the regrets of one’s own self doubt in the past. ‘“Cause I’m A Man,” oozes with self confidence, presumably with this new musical direction; the album is at once looking back whilst moving psychedelically forward.

Though Parker has clearly excelled in rehashing the psychedelia-come-soft-rock sound of the ‘70s, that very inspiration is an undeniable problem in the album. Not only do many of the songs sound similar, but they all seem like attempts at reconstructing some sort of idealized notion of a bygone era. The album, despite being a refreshing listen, is not revolutionary nor particularly emotive. Granted, Currents is being released at a time when re-imagining the past, whether it be through music, photos, or fashion, is en vogue; perhaps it should be enjoyed from that perspective.

Overall the handful of truly outstanding tracks outweigh the lackluster ones, and these songs shine out as true gems that are worthy of recognition. Currents sounds anything but current. Instead, Tame Impala succeeded in rehashing ‘70s soft rock in an album that is unlike anything else that’s been released this year.

Standout Tracks: “The Moment,” “The Less I Know the Better,” & “Disciples”

This article was corrected Thursday, July 30, 2015. The Tribune regrets these errors.

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