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Best films of 2015
a, Arts & Entertainment, Film and TV

The best films of 2015 (so far)

by Chris Lutes on

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Here's our list of the best films of 2015 so far:

15. Slow West

Though Western films have long become stale, a fresh spin on its familiar tropes comes out every few years to show the genre still has some life left in it. In this period piece, a young Scottish man sets across the American West to find his lost love. Though its themes of lost innocence and the harshness of the wild are certainly not new to the genre, its distinctive visuals and stylish framing prevent it from feeling stale.

14. Kingsman: The Secret Service

Embracing the inherent ridiculousness of the James Bond mythos, Kingsman merrily tears down the conventions of the spy genre as quickly as it builds them up. Equal parts loving homage and biting satire, it follows a British street kid as he enters the secret world of international espionage, full of gadgets and cartoonish villains. Though it is first and foremost a well-shot action film, it manages to throw in some sly commentary about class roles and expectations.

13. Spy

After playing a series of increasingly caustic characters, Melissa McCarthy is finally given a vehicle to show how great she is at giving an inherently sympathetic and human performance. Playing an inexperienced CIA agent thrust into a dangerous international conspiracy, the film subverts nearly every hyper-masculine spy cliche with zippy pacing and surprising pathos. Though Director Paul Feig has no idea how to dynamically shoot an action sequence, the hilarious performances by McCarthy, Rose Byrne, and Jason Statham make it hard to care too much.

12. Ex Machina

The latest in an ever-expanding list of films about the disappearing line between humanity and technology (see also: Transcendence, Chappie, The Machine), Ex Machina explores the emotional implications of artificial intelligence in this three-person character study. In it, a naive programmer is tasked with testing out his genius employer's latest project: A staggeringly lifelike robot. What follows is a tragic and engaging look at how much agency both humans and robots will have in a future where technology matures more quickly than people.

11. Nightingale

Fresh off his highly-praised portrayal of Martin Luther King Jr. in Selma, David Oyelowo gives another spellbinding performance as the only on-screen actor in Nightingale. Portraying a mentally-ill veteran of the Iraq war who slowly unravels after killing his mother, Oyelowo elevates the serviceable plot and filmmaking, bringing a level of realism that could have been drastically overplayed in the hands of a lesser actor.

10. Clouds of Sils Maria

A terrific, naturalistic performance from Kristen Stewart is the surprising highlight of a film about the fear of being replaced. The plot follows a middle-aged actress who returns to her roots to take a role in the play that made her famous 20 years ago. The film uses her preparation for the role as a meditation on the intersection of artifice and beauty, filtered through two fascinatingly fractured perspectives.

9. Buzzard

Despite a tonally uneven first third, this film eventually finds its footing in the story of Marty—a small-time scammer who flees a desk job at a bank after getting implicated in one of his cons. After eschewing its tethering, the film unfolds in all its unhinged glory by exploring what happens when an intense anger towards ‘the system’ lacks a healthy outlet.

8. Wild Tales

Linked together by nothing more than a twisted sense of old-testament retribution, Wild Tales tells six stories of how people react in the face of injustice. Bending genres from satire to morality play to domestic drama, the film possesses a streak of cheery nihilism and surrealism as its characters become increasingly fed up with the hand that fate has dealt them. The movie’s lack of willingness to let its characters off the hook for any infraction, no matter how small, results in a cathartic and hilarious experience.

7. Going Clear: Scientology and the Prison of Belief

The Church of Scientology poses numerous difficulties for would-be cinematographers. Famously litigious and image-obsessed, the Church sent a team of lawyers to try to prevent the release of this film. It didn’t work, but it’s easy to see why they tried–the film is a horrifying saga that gives a succinct and objective indictment of the pseudo-religion through simply revealing its history in a straightforward manner.

6. The Duke of Burgundy

Lacking any conventional plot, this film explores the romantic relationship between two entomologists and how the arbitrary boundaries they set for each other feed into a larger narrative of sexual politics. The film focuses on the coexistence of love and power and examines the relationship from different angles, be it intellectual, physical, emotional, or financial. All this unfolds within a beautifully dense cinematography and some of the most hypnotizing camerawork in recent memory.

5. Mad Max: Fury Road

In a world where movie-goers have started to tire from action sequels, the first sequel to the Mad Max franchise in 30 years, offers the perfect antidote. Putting forward a gleefully bizarre vision of an oil-deprived future that is always in motion, Director George Miller films what is essentially a two-hour car chase that never lets up it's deliriously kinetic spirit. Beneath the sheen of glossy chrome are some surprisingly cognizant object lessons on feminism and religious fervor.

4. Cobain: Montage of Heck

All too often, music documentaries fall into the trap of blatant hero-worship, or trying to affix a straightforward narrative to the lives of their subjects. Brett Morgan’s documentary on late Nirvana frontman Kurt Cobain avoids this, both by revealing the deep humanity and pain at the center of Cobain’s psyche through extensive archival footage, and by using formal techniques seldom used in documentaries (animation, abstract montage) to get inside his head. The result is a level of even-handed insight that is sadly uncommon to the genre.

3. World of Tomorrow

How can a film that’s funny, terrifying, awe-inspiring, depressing, uplifting, wistful, smart, and poignant also be less than 20 minutes in length? Don Hertzfeldt’s World of Tomorrow answers that question with his abstractly animated vision of the future as seen through the eyes of a young girl. To give anything else away would spoil the fun.

2. Inside Out

After a few years of (relative) creative decline, Pixar Animation Studios is back with Inside Out, which follows anthropomorphic emotions through the mind of a young girl as she moves to a new town. What could have been a straightforward and enjoyable romp instead turns out to be a thoughtful meditation on the value of sadness as a means of connecting with others. It also boasts a structurally taut script and some of the most ambitious animation the studio has produced to date.

1. It Follows

In horror movies, sex and death have always been linked, but it has never been more explicit than It Follows. The film concerns a malicious supernatural entity passed from person to person through sex, centering around its latest potential victim—a young woman in the vein of classic slasher movie heroines. Delving much deeper than its surface-level STD metaphor suggests, It Follows examines what one sacrifices by becoming intimate with another person and the consequences that sex has on the psyche without ever feeling didactic or obvious.

Haunting and lyrical, it gives some of the year’s best location shooting, straddling the border between the decay of urban Detroit and its winding suburbs. The remarkably confident filmmaking is evident with its use of eerily slow 360 degree pans and an unsettling score, proving once again that some of the best cinema comes from genre films.

(Photos courtesy of redbrick.me, slashfilm.com, grantland.com, vashivisuals.com, tumblr.com)

Bahamas Afie Jurvenen
a, Arts & Entertainment, Music

Afie Jurvanen (Bahamas) talks indie music and the perplexity of the Canadian music scene

by Yufei Wang on

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At Osheaga, the sunny grounds were filled with a dazzling array of musical talents from a multitude of different sounds. Out of these, the easygoing and dreamy indie sound of Afie Jurvanen—the Toronto-native behind the stage name Bahamas—could be easily picked out. His newest album Bahamas is Afie (2014), is often described as a ‘breakup album.’ Rather than being heavy and melancholic, the album has a lighthearted dreamy sound thanks to its strong folk and 1960’s rock influences. Before the whirlwind frenzy of Osheaga, Jurvanen spoke with a wry sense of humour about his musical influences and what it’s like to be an indie musician.

McGill Tribune (MT): You’re one of the biggest up and coming names in the Canadian indie music industry. How does it feel to be playing at Osheaga, the biggest music festival in the country?

Afie Jurvanen (AJ): We’ve played here before, and always had a wonderful time. They have great catering—the seafood is awesome. Hopefully they have the same chef this year.

MT: So you toured with Jack Johnson and Wilco early last year. Can you describe what that was like? Do the people you tour with influence the way you think about your music?

AJ: I don’t think it changes anything musically in those particular examples, but they’re really wonderful people and I think that’s the most important thing. When you’re travelling, you gotta be around people that you like because you spend so much time together. I think that Jack in particular is involved with all kinds of good initiatives outside of music, and those are the types of things I care about too. I like to be around people that care about the same thing, you know?

MT: The harmonies between you and your backup singer are really good. Can you describe the relationship between you and the members of your backing band?

AJ: Well, yeah, I mean it’s not really that complicated. They’re just really talented and I’m in a lucky position to be in, to have a band that you trust and I’m really grateful. They’re just very great players. They have very strong musical intuition, and I think that’s the best skill to have, no matter what skill level you’re at. As long as you’re really listening, have the ability to play with people, to respond to people, to have that musical conversation, you’re in a good position.

MT: Since your debut album, your music has developed quite a lot. Can you describe what musical influences have played a part in the evolution of your music? Are there specific bands or genres of music that have pushed you to develop your sound?

AJ: I wouldn’t say that there’s one above all else. I think I like a lot of types of music. There was a period where I really loved country music a lot. There was another period where I really loved rock and roll music. These days I listen to mostly hip hop music and as far as contemporary music goes, that’s kind of the genre where all the exciting stuff is happening. The hip hop artists who are pushing the boundaries sound the most original to my ears, and that’s what’s jumping out at me. Even if it doesn’t sound like that on my albums, I think some of those ideas carry over.

MT: Can you elaborate on some of the influences on your more recent work?

AJ: Well, I do like the way hip hop uses different time signatures and [artists] basically do whatever they want. For example, the chorus can be faster than the verse, and they can have all different kinds of genres all mashing together. I like that idea, and I think it’s an idea that’s carried over when I was making Bahamas is Afie. I was also listening to a lot of Celtic music; there are certain scales they use, certain notes, certain hard and fast rules that I really liked. I thought it was really powerful sound and I tried to evoke some of those ideas on the guitar when I was playing.

MT: Could you tell us a bit about your songwriting process?

AJ: It’s not set in stone. It’s generally a product of playing the guitar. I don’t get a whole lot of time to do that when I’m on tour, but at the end each day, I get to play about an hour. It’s mostly just being at home and playing the guitar as much as possible. I usually play around three to four hours a day and something usually comes out of that. Sometimes it’s a really good idea, sometimes it’s something worth pursuing, and other times it’s not so great. But I always end up taking something away from it, whether or not I end up making a song out of it.

MT: I read somewhere you worked with Feist before you started working on your own music. Can you describe what that was like?

AJ: It was a wonderful experience. I got to travel all over the world, which was amazing. It was a very formative experience for me. Now I get to do the same thing and bring my band along. I’m lucky to kind of do the same kind of thing and I think it keeps it interesting

MT: Can you describe what the Canadian music industry was like when you first started out compared to what it is today? What’s changed, and what’s remained the same?

AJ: I don’t know too much about the Canadian music industry. The music business in Canada is quite small, since our population is quite small. I’m grateful I get to tour in Canada, but I don’t actually play that much in Canada. Ironically, I spend most of my time playing in America, and touring in Europe. We’re also playing in Australia in the fall. That’s a lucky position to be in, since it means we get to play in more shows. If I were to only play in Canada, I would only get to do something like 20 shows a year. But I think the Canadian music thing is great, people really support their own here. If you get momentum, people are always keen to jump on and support you.

MT: If you could tell yourself back when you started out one thing that you know now, what would it be?

AJ: I would say bring your wallet on stage and leave your passport in the dressing room.

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

Ultimate Painting Green LAnes
a, Arts & Entertainment

Album Review: Ultimate Painting – Green Lanes / Trouble in Mind

by Jack Neal on

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Evoking a sound reminiscent of the past is a style that many artists have attempted, and subsequently failed. For while it’s easy to try to replicate, for example, the ’80s through echoing drums, reverbed vocals, and synths, in essence the replication is only a heavily romanticized and nostalgic trip down an imagined memory lane.

British duo Ultimate Painting have avoided this trap on their latest album, Green Lanes. Despite heavy references to the ’60s and ’70s, the album embodies a timeless sound by avoiding the rigid boundaries of what is deemed era-defining musical characteristics; instead it creates something that is effortlessly undefinable. The hazy guitar progressions, rich melodies, and relaxed atmospherics evoke a late-summer, beach-side, lazy aesthetic. It’s music for the moment that still manages to sound like something that has been around for decades.

Opener “Kodiak” is somewhat reminiscent of the Velvet Underground, and third track “(I’ve Got the) Sanctioned Blues” hints at some Beatles influences. “Break the Chain” is a fantastic exploration in subdued drive-rock that could have easily made it onto the soundtrack for the 2014 film Boyhood, and “I Was Lost” has a supreme air of tranquility surrounding it.

“Paying the Price”—a slow song which includes the more-than-appropriate line, “There’s only so much you can take”—is one of the few tracks that seems out of place. Luckily, it is immediately followed by “Woken By Noises,” a striking departure from the album’s lazy state, providing a rather gritty and upbeat tune that channels both fellow British rocker Jamie T and the 1961 hit “Let’s Twist Again.”

It’s not all about the sound, though, as the album’s themes and lyrics more than rise to the occasion. Standout track “Sweet Chris” is a heartbreaking love-letter to a former partner: “I never see you anymore / I miss the little things you say and do / In my mind it’s alright / You’re still there in my heart.” It’s tragic, but undeniably beautiful.

Green Lanes is a methodical, cohesive piece of work that encompasses the ‘here-and-now’ attitude perfectly, never breaking pace once. While it could be seen as a purposely vintage-sounding record, the duo never sounds like they are trying to recreate anything. The beachy, sun-drenched production and personal lyrics make it anything but a rehash of a reimagined era.

Standout Tracks: “Sweet Chris,”“(I’ve Got the) Sanctioned Blues,” & “Break the Chain”

Mondial de la biere Beer Fest
a, Out on the Town, Student Life

Montreal’s 22nd annual Beer Fest brews up fun

by Morgane Ciot on

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The Mondial de la Bière took place from June 10-14 at the Palais des Congrès. The festival's name recalls global-level soccer competitions, but there's little in the way of contest here. The mandate of "Beer Fest"—as English-speakers refer—is to bring beer-related fun and knowledge to the Montreal community.

Beer Fest was founded in 1994 by three beer enthusiasts and MontreAlers, an English local home brewing club which opened almost 20 years ago. This is the 22nd installment of the Mondial, and this year it hosted 85 breweries, including names such as Belle Guele, St. Ambroise, Dublin's Pub, Helm, Boreale, and Dos Equis. Of the 85 breweries, half were Quebec-based microbreweries.

While many parts of the Palais des Congrès are over 100 years old, its vibe contrasted the rustic setup of Beer Fest. Facing out from the Palais, a dozen beer stands were off to the right, the wooded area spreads out to the left of them, and more seating and food trucks in the back. Beer-drinkers populated the seating areas in groups of two and three. The total walkable area was fairly small for a festival that serves 150,000 people. Back in 2011, the festival took place indoors, in a large conference-style room, and more breweries were on display each day. The current setup was more intimate and friendly.

The beer festival attracted two categories of people—those looking to drink and enjoy themselves, and those concerned with beer as an art-form. Artisanal beers are becoming trendy in cities around the world, and the Montreal craft beer scene is still relatively young. Given the growing demand for artisanal beers and the fact that the market isn't yet saturated means that the craft beer horizon seems relatively accommodating for newcomers. In the U.S., the number of entrants in the craft distillery market is doubling every three years; Canada, on the other hand, has more craft breweries than the U.S., per capita.

The festival offered 523 products, 475 of which were beers, and the rest of which were meads and ciders. Half of the beers had never before been presented at the festival, making for a great opportunity to taste something new or experimental for only $1.00 per 2 oz tasting coupon. At that rate, a pint is set at $8.00—a relatively affordable cost as far as artisanal tasting goes. This, in addition to the festival’s free admission, offered mass appeal.

Just as artisanally disposed, Beer Fest food is an attraction in its own right. There's smoked venison and beef, skewered bison and boar, sausages, and gourmet snacks like grilled cheeses, Bavarian pretzels, 50 different flavours of fudge and nougat, and ‘gastronomical popcorn.’

"It was really nice to be able to complement the beer with sausages and cheeses," Catherine Preston-Thomas, a 23-year-old young Beer Fest attendee.

Moreover, Warren Robinson, a recent McGill Engineering graduate, notes that Beer Fest brings together all walks of Montreal life.

"Beer Fest was awesome,” he said. “I got to hang out with all my co-workers, old and young and it was really fun because everyone was excited to be there no matter who it was."

For those interested in food and beverage festivals, the Mondial won't take place again for another year, but in the meantime, you can check out Oktoberfest des Quebecois in Repentigny, an off-island suburb of Montreal, from September 11-13—a festival which will surely quench beer and beef cravings alike.

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.

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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.

a, Arts & Entertainment, Music

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.

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