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Ottawa speed freaks Occult Burial headlined another successful celebration of the Canadian underground metal scene this past Friday night. Hosted by the infamous TraXide, the bill also featured three supporting Montreal acts in the form of Skumstrike, Vespéral, and Conifère.

If you’ve never heard of TraXide, I don’t blame you. The best description of the hole-in-the-wall venue I can offer is in the form of an exchange sparked by an eager concert-goer on the event’s Facebook page. “L’adresse SVP” writes a fan. The only response came from none other than Vespéral frontman Sovannak: “nope.” Gotta be in the know, I guess.

While Occult Burial and Skumstrike play music to the beat of something akin to an amphetamine-fueled metronome, Vespéral and Conifère offered a little more ambiance with their performances. As expected in the numbers drought that tends to create incestuous but high quality local black metal scenes, Vespéral and Conifère share multiple members and play in a similar style. Seeing the same musicians come back on-stage after a Skumstrike speed-break interim was quite comical, as Vespéral put on new costumes, stage-right went to stage-left, and they became Conifère. My favourite of the two was definitely the latter, as the group played a straighter 2nd-wave black metal style, but also featured a slew of heavy and borderline groovy segments to their songs that got the crowd pushing and shoving again. A black metal band that can get people moving is a big accomplishment.

Skumstrike were also a blast. I knew we were in for a wild trip when the guitarist took the stage adorned with an AC/DC t-shirt and mirrored Top Gun aviators. “Emperor sunglasses!” shouted somebody in the crowd - which was almost an insult; Skumstrike would never dare play as slow as Emperor. Blastbeats and sleazeball punk were the name of the game for these speed dealers, surging the packed room into a maelstrom of spikes and body odour. My lower back became well-acquainted with the sharp edge of the shelf behind me, punk after punk bouncing off me like some kind of perverse speed dating event.

Headliners Occult Burial broke into their set with true underground fury. Good on them for driving all the way from Ottawa for this basher. To be fair though, I’m sure the band enjoyed being in a fun city for once.

The best part of Occult Burial’s sound is frontman/bassist Joël Thomas’ manic shrieking vocal style, which brings these fan-favourites leagues above any other neighbourhood blackened speed act. Batterie-master Dan Lee is also a maniac on the kit and personally looks like he’s always ready to star as a zombie in an impromptu b-movie horror flick (and I say that as a compliment). In true punk fashion, Occult Burial also don’t feature a rhythm guitarist, which allowed for lead Dan McLoud (could have gotten more creative with the fake handle - two Dans?) to soar during bassy guitar solo breaks that always hit like a brick.

Three songs in, somebody ripped the band’s paper setlist off the floor, as it disappeared into the mass of contraband this is a TraXide audience. “Hey, uhhh, who stole our setlist?” gawked the frontman, staring back at his kitmaster with uncertainty, telepathically communicating the message “What do we do now?” I can only assume the rest of their set was somewhat impromptu, as that sweaty piece of paper never resurfaced. The opportune thief will make a cool $5 selling that on Kijiji in a few years.

Occult Burial played through rippers like they were mainlining adrenaline, blasting out cuts like “Jackal Head,” “A Witch Shall Be Born (Daughter of Darkness),” and “Ancient Returns.” Audience members (and the frontman, who was panting and sweating bullets the whole time) were allowed to come down during the slower, groovier “Highway Through Borderland” off the band’s most recent LP.

Occult Burial’s varied set and the dynamic range of their sound strengthened their status as one of the champions of the underground Canadian metal music scene. With the strong accompanying performances from Skumstrike, Vespéral, and Conifère, the event was truly a successful celebration of the Canadian music scene, proving that it isn’t going anywhere anytime soon.

 

The clock changes from 11:59PM to 12:00 AM, the month from December to January and with it: the year from 2022 to 2033. The one thing that doesn’t change here at CJLO, is the reflection of all that’s passed in the form of yearly ‘Best of” lists! Thank you to everyone who supports CJLO, a radio station for the people, by the people. Surely, this spirit will only continue fostering into the close-knit community that brings the city together! Without further ado, here are the CJLO’s staff picks of favourite 2022 releases!

 

MEGAN DAMS - CJLO'S HIP HOP MUSIC DIRECTOR AND HOST OF PURPLE HOUR

BEST PROJECTS OF 2022 (NO PARTICULAR ORDER)

1. Untidy Soul - Samm Henshaw

2. HIT 'EM WITH THE FUNK - Kalisway

3. Wasteland - Brent Faiyaz

4. SOLO - Eva Shaw

5. It'll Be Fine - Chase Shakur

6. RENAISSANCE - Beyonce

7. Mr. Morale & The Big Steppers - Kendrick Lamar

8. Few Good Things - Saba

9. HEROES & VILLAINS - Metro Boomin

10. SOS - SZA

11. Monologues [EP] - Ogi

12. eleven achers [EP] - nemahsis

13. DAWN FM by The Weeknd

14. MOTOMAMI by Rosalia

15.  Anxious [EP] by Fthmlss

 

BEST TRACKS OF 2022 (NO PARTICULAR ORDER)

1. “WHEN SPARKS FLY” - Vince Staples

2. “Paradise” - Prime Society 

3. “MIDNIGHT STRANGERS” - Eva Shaw, Thouxanbanfauni & DB Bandito

4. “Grow” - Samm Henshaw

5. “Cresco” - Belaganas

6. “Static” - Steve Lacy

7. “i'm not gonna kill you” - nemahsis

8. “BREAK MY SOUL” - Beyonce

9. "HOME" - Mike Dimes

10.“Come Back” - Jex Nwalor

11. “INTIMIDATED” - Kaytranada ft. H.E.R.

12. “READY OR NOT” - Kalisway

13. “Sticky" by Drake

14. “Diana" by Armani Caesar ft. Kodak Black

15. "Deep (Interlude)" by Namir Blade

ALEX VIGER-COLLINS, HOST OF ASHES TO ASHES

BEST ALBUMBS OF 2022

1. Extreme - Molly Nilsson 

2. Marci - Marci

3.  Blue Rev - Alvvays 

4.  Future is Now - Sheena Ko

5. Anxious Avoidant - Sophia Bel 

6. Avec les yeux - Fisbach 

7. Dawn FM - The Weeknd 

8. Ideas of Space - Tess Roby 

9. Giving the World Away - Hatchie 

10. MUNA - MUNA

Honourable mention: 8 - Marzye

ANDREW WIELER, CJLO'S METAL MUSIC DIRECTOR AND HOST OF GRADE A EXPLOSIVES

BEST ALBUMS OF 2022

1. Sunrise on Slaughter Beach - Clutch

Clutch has done some pretty great records in the past, but a lot of them had some tracks that didn't hit me nearly as hard as this whole thing did. Could this be the best Clutch album? No, Blast Tyrant exists. Is it the best Clutch album since then? No, Robot Hive / Exodus exists, but is it the best since then? Maybe.

2. Zeal & Ardor - Zeal & Ardor

It's good when a band has a signature sound and manages to incorporate other genres into it. For instance, this Zeal & Ardor has a good amount of quasi-industrial laced in it, but in such a way that it doesn't detract from their southern slave spiritual meets black metal ness. A really good record, that if you haven't listened to yet you should.

3.  Heavy Rocks 2022 - Boris

I must admit Boris is never a go to band for me, and I barely know any of their back catalogue, but this record oscillates between metal, pop influences, blaring saxophone, and at times straight industrial that I got musical whiplash in the best way possible.

4. Otherness -  Alexisonfire

A return from the Canadian whatever-core band, and its a bit more mellow than I'd care for, but still catchy and full of endlessly melodic portions that you can yell along to. They still got it, even if Dallas continues to make the band more City and Colour than what they should be.

5. Deathrattle Sing For Me - Norma Jean 

A disjointed weirdo record that does have a bit of filler, but Norma Jean has been engaging in "atmosphere building" since Meridional, so I can let it slide.

6.  We're Not Here to Be Loved - Fleshwater

... and then I was like, "What if the Deftones had a female lead singer and also picked up a couple other genres?" and then this album, featuring members of Vein.FM comes along and I get all my post-grunge dreams.

7. Rakshak - Bloodywood

I am always happy when a band comes along and does something ACTUALLY innovative in metal (see Zeal & Ardor from above), so naturally I love this mix of Bhangra and metal, and this album has been a long time coming, so its no wonder its as good as it is.

8. The Exile - Mares of Thrace

It is tragic when a band you loved comes back after a long hiatus and doesn't deliver a great followup to their previous work. Luckily Mares of Thrace more than lived up to the task and crafted this heavy masterclass.

9. Chasing Ghosts - Stabbing Westward 

I have to level with you, this record isn't very exciting. It's sort of samey and it doesn't exactly evolve over its run time, but it is a Stabbing Westward album, and so much better than the pure boredom that was their last self-titled slog that I am genuinely looking forward to them producing more stuff like this.

10. Skin & Sorrow - Frayle 

I listened to a lot of witchy doom stuff this year, but this record is probably the stand out among them. Dropping a bit of the Portishead influence from past records, but not enough for it to be absent, this record is really capturing a feel that I think has been hanging over us since the weariness of COVID really set in, and why not wallow in it some more since the pandemic is still happening... despite what everyone is acting like. Also, I 

Honorable Mentions:

Of Kingdom and Crown - Machine Head 

Apparently I'm in the minority saying that Bloodstone & Diamonds wasn't great, but this record... it is some good return to Blackening / Unto the Locust era.

All The Truth That I Can Tell - Dashboard Confessional

This a strange album that has songs that are both deeply relatable to me and not relatable at all. Feels a bit less polished than some of the mid Dashboard work.

Atum - Act I - Smashing Pumpkins

I have been waiting for The Smashing Pumpkins to be something enjoyable for some time, and they finally seem to have done that... even though it doesn't sound like a Smashing Pumpkins album in any way.

Heavy Pendulum - Cave In 

A really good album that overstays its welcome but just a tad bit.

Krüller -  Author and Punisher 

A sharp musical direction turn for these guys that I can understand why some won't like it, but I enjoy it just fine, so either way this band goes, I'm okay with it.

Burn - Messora 

A step in a different direction from the previous work, but with a very dirg-esque tone without feeling incredibly bleak.

Forget Your Own Face - Black Dresses

Every time I hear a Black Dresses album, I always think, "Why am I so late getting to this? It is a master work of complete insanity." This record is more of that, and I'm in.

Judgement  - The Silverblack

Fear Factory should really watch out, because these Italians are coming for their title.

Magic  - Ol' Time Moonshine

Damn this is some good stoner stuff. And, as a bonus, it features

Null - Ken Mode

... now with even more saxophone

Somebody's Closer - Bleed 

 Haven't you heard? The 90s are back, and Bleed is here to give it to us.

 

ANGELICA CALlCAGNILE, CJLO'S ART DIRECTOR AND HOST OF BVST

BEST ALBUMS OF 2022

Lullabies for Eternal Sleep - Apes 

1. When Apes dropped this EP a few days into 2022, I knew it would likely end up on my top 10 list, and I was right. Four tracks of pumelling, unforgiving audio extremism blend black metal, hardcore and grindcore into a bleak, yet fiery, juggernaut. The only thing wrong with this release is that it's too short, and I hope to hear more from them soon. I'm especially partial to "Devour", which plods and creeps and consumes, at once oppressive and liberating.

2. S/T - Zeal & Ardor 

Two years after the release of the flawless Wake of a Nation EP, Manuel Gagneux and friends are back with their third full-length, a monstrous brick of an album that is arguably their most complete, meticulous effort yet. The territory travelled across the previous two records is fully explored here, yet there is nothing tired about it. If anything, the individual tracks on this record are too good, the record too complete, it's almost a surfeit of genius. Though somewhat of an outlier on this record, I come back to "Götterdämmerung" again and again, but if you've been sleeping on this band, you should pretty much start anywhere.

3. Creatures - Drumcorps 

In 2006, an album called Grist, which splintered metal and hardcore elements into extremely heavy electronic music, absolutely blew my mind and that of many other CJLO DJs. It took Drumcorps another 9 years to release again, and then more silence until 2021, when a couple of EPs trickled into existence. I missed them all. Now, Drumcorps is back with an absolutely terrifying record. The heaviest band you've ever listened to cannot prepare you for the absolute maniacal sonic violence of this release. Familiar elements of extreme music are ripped apart and reassembled into the most glitched, unhinged breakcore barrage your mind can conceive, and yet tracks like "Style Transfer" still bring a sexy, sultry stomp.

4. Malocchio - Bonnie Trash 

Deeply moody, this drone-y, doom-y, post-everything record surprised me with its synthesis of heavy guitars and beautiful melodies and vocals. A late entry to this list, the gothy quality of this album is unmistakable, but darkly sweet and nostalgic, never campy or self-indulgent. Spooky spoken word elements in Italian and English open and close the record, but I'm particularly drawn to the lushly-layered menace of "Lashes On Fire".

5. 1% - The Milk Faction 

Easily the strangest release on this list, I couldn't resist this 15-minute hardcore noise punk mess that travels from wildly angry to vaguely jammy before swinging back to hyper aggressive once again. It's a weird, arty concept record with a political message, but you don't need to care about any of that in order to enjoy it. Try the vaguely Tomahawk-y track "Work" on for size, you'll know I'm right.

 

BEST SONGS OF 2022

1. "Back to Black" - Junkowl 

My favorite thing about Junkowl is the undercurrent of implied danger and cruelty that threads through their songs, and they bring that energy to great effect on this Amy Winehouse cover.

2. "Bad Blood" from Black Box - BRKN LOVE 

While this song, and the record as a whole, flirts dangerously close to an uncrossable dance rock line for me, I somehow can't shake its hooks or big rock vocals.

3.  "Southern Comfort" from Blood Harmony - Larkin Poe 

This song immediately caught me, and its bluesy, southern-fried country roots-rock stomp and lilting vocals get stuck in my head for days with every listen, with no complaints.

4. Don't Let The Outside Win" from Revenge - The Anix 

Reminiscent of Playing the Angel-era Depeche Mode, this broody, intimate track wraps me in its warm electronic arms and promises to never let me go.

5. "Gaddaar" from Rakshak - Bloodywood 

Nu metal and bhangra might be an unholy union, but it feels just right in this explosive party banger with a political message (delivered via rap feature, of course).

 

GIGI BROWN, HOST OF THE GIGI BROWN EXPERIENCE

TOP 10 ALBUMS OF 2022 (IN NO PARTICULAR ORDER)

1. Watin by Aysanabee

2. The Loneliest Time by Carly Rae Jepsen

3. All I Know About Love by Laufey

4. Michael Rault by Michael Rault

5. Blink Twice by the Arkells

6. Expert In A Dying Field by The Beths

7. Fleur de l'Âge by Mon Doux Saigneur

8. Crybaby by Tegan and Sara

9. Harry's House by Harry Styles

10. All Blue by Juliana Riolino

 

TOP EP/SINGLES

1. A Bientôt/ Le Bois by Vanille

2. Night Terrors by Mully & Sculder

3. Allo Fantome by Allo Fantome

4. Hurt By The Words/ So In Need by Leather Rose

5. I'm Not in Luv by MBG

 

Best Live Shows:

1. Aysanabee @ Jazz Festival

This was the first time I went to a show with my friends. I dragged them out to come see him play because I had fallen in love with his music, and they all loved it. My friend, Diego, who plays the guitar was blown away by Aysanabee's playing and everyone was dancing. It was an excellent way to end the school year and spend some time together before we all went our separate ways for the summer.

2. Mort Rose @ Francos

My dad, Prince Palu (one half of The GoGo Radio Magic Show), brought me down to this show and it was so great! I got a soda and we chilled on the grass and got to watch this great band, AND bonus points, I was introduced to some Montreal artists, Tommy from Choses Sauvages and Alexandre from Larynx, both who I really love!  

3. Marilyne Léonard at Francos

After Mort Rose, we saw a HUGE crowd around the big stage in front of the metro, so we stopped to watch and it was amazing. Marilyne was wearing this awesome pink jumper with paint splotches on it and her band was incredible. When she started playing Baby One More Time by Britney Spears everyone was dancing and singing along! It was just a really great way to discover her music and end the night! 

4. Vanile at Rialto Theatre (roof top)

I got to go to this concert with my dad and my boyfriend, and it was such an awesome experience! I mean for one thing we were on a rooftop with an amazing view of our city, and we were serenaded with Vanille's amazingly sweet voice. That night there was also an amazing sunset which just paired perfectly with her music and her beautiful voice!

5. The Linda Lindas + Sophia Bel + MBG at Rialto Theatre

The definition of an amazing girls night out. I went with my awesome mom and it was so fun! I was introduced to the music of MBG and Sophia Bel and I actually got to meet MBG too after the show as well! When The Linda Lindas came on... I mean, they are just kick ass! I was dancing like crazy, and was exhausted the next day at school, but oh it was so worth it!

6. Arkells at MTELUS

The Arkells with Joel Plaskett as an opener was such an amazing concert! I mean the crowd was so engaged and everyone was dancing and singing along and it was just an amazing atmosphere. I think I danced almost the entire time! My feet were killing me by the end of the show, because with both the Arkells amazing dancing music and Joel Plaskett's dance moves on stage, the room was just filled with an energy that you couldnt NOT dance to!

 

Top Five Movies 

1. Uncharted

I loved this movie and I am not ashamed to admit that Tom Holland is my celebrity crush, so getting to see him mixed with my other love, History, was just amazing. I saw this in the theatre with my friend and then rewatched it with my family and loved it just as much the second time!

2. Turning Red

Turning Red was the perfect mix of adorable pandas, Disney magic and girls growing up and dealing with change. It was funny and cute and definitely made me tear up in some parts. 

3. DC League of Super Pets

I dragged a group of my friends to come see this movie with me, and while I will always be a Marvel girl at heart, this movie was GOOD. I loved it so much. I mean it's adorable animals paired with amazing humor and a sweet moral story. I fell in love with the animals and laughed super hard... and I also cried.

4. Lightyear

This movie made me cry... SO HARD. It was so bittersweet, but also had an amazing script. It wasn't my favourite 2022 movie but it's still up there, primarily because the idea behind it was so sweet and I just wanted to give Buzz a big hug.

5. Thor Love and Thunder

Ragnarok is still my favourite Thor movie ever, but this one was a great one to see in the theatre with my dad. I definitely cried at the end and while there were some things I didn't love, it was still fun to watch in the theatre!

 

Top Five TV Shows

1. Ms Marvel

It was such an amazing show, the style was so cool with its super colourful comic parts and the story was absolutely amazing.

2. Severance

This show was really fun to watch with my parents. It really messes with your mind and really makes you think about what the characters are going through.

3. The Cuphead show

Just watching this show with my brother makes me so happy. They are super short episodes, but super cute and funny and have this vintage feel to it that is really fun!

4. Is it Cake?

Such a creative baking show, that was equal parts funny and mind blowing skills. Trying to guess with my family which item was cake and making it a sort of competition between us was sooo fun!

5. She Hulk

She Hulk was so interesting because I didn't love it at first but it definitely grew on me. It balanced the very real and difficult topic of sexism with humor and awesome outfits.

 

REMI CARON, CJLO'S EQUIPMENT MANAGER AND CO-HOST OF AT THE MOVIES

BEST ALBUMS OF 2022

1. After Hours - The Weekend 

2. The 7th Hand - Immanuel Wilkins

3. Beatopia - Beabadoobee

4. Mr Moral And The Big Steppers - Kendrick Lamar

5. Renaissance - Beyonce

6. Labyrinthitis - Destroyer

7. Blue Rev - Alvvays 

8. José Louis and the Paradox of Love - Pierre Kwenders

9. Once Twice Melody - Beach House

10. Asphalt Meadows - Death Cab For Cutie

 

TOP SCORES AND SOUNDTRACKS FOR VISUAL MEDIA (NO PARTICULAR ORDER)

1. The Menu - ​​Colin Stetson

2. Bodies, Bodies, Bodies - Disasterpeace 

3. The Batman - Michael Giacchino

4. Blonde - Nick Cave & Warren Ellis

5. Tar & Women Talking - Hildur Guðnadóttir

6. Men - Ben Salisbury and Geoff Barrow

7. The Fabelmans - John Williams

8. The Northman - Robin Carolan and Sebastian Gainsborough

9. Bones and All & Empire of Light - Trent Reznor and Atticus Ross

10. Black Panther 2 Wakanda Forever - ludwig göransson

 

Top 10 films of The Year for 2022 (In Order)

10. The Batman dir. Matt Reeves

9. Nope dir. Jordan Peele

8. Aftersun dir. Charlotte Wells

7. Glass Onion: A Knives Out Mystery dir. Rian Johnson

6. The Banshees of Inisherin dir. Martin McDonagh

5. TÁR dir. Todd Field

4. The Fabelmans dir. Steven Spielberg

3. The Northman dir. Robert Eggers

2. Vortex dir. Gaspar Noé (*Note that this was a 2021 release that came to theatres here in 2022)

1. Everything Everywhere All at Once dir. Daniel Scheinert, Daniel Kwan

 

KAITLYN DIBARTOLO, MAGAZINE EDITOR

BEST ASSORTED DISCOVERIES AND MOMENTS OF 2022 IN NO HIERARCHICAL ORDER

1. Parallelograms - Linda Perhacs

Perhacs is among the folk artists of the '70s whose music didn't take off when initially released, but became discovered again and reissued decades later; this time around with a cult status. Several songs on this album center around the disillusionment of housewifery, which seems to be a popular motif within folk songs from female artists of the era, and sadly part of the reason why Perhacs' music wasn't given any press. Perhacs' catalogue is a spiritual experience, a reflection and meditation on living out in nature in 1970's Topanga Canyon, California; a time which Perhacs empshasizes in interviews, couldn't have happened with modern-day interruptions of social media and cellphones. My advice is to start with the album's titular, haunting track. 

2. "Having a Coke With You" - Frank O’Hara

O’Hara’s value of writing poetry that is communal and personable is best exemplified in this poem and explains why it’s his most famous. Written in 1960, O’Hara takes the unassuming Coke and literally puts sharing one with his lover, above all works of art. I don’t know why it took me so long to get to his poetry, but nevertheless the fact that I finally have is what’s most important!

3. "Origin Point" - Emma Hine

A more contemporary, dreamy poem. Literally, it’s about a recurring dream the speaker’s mother has of their old beloved dog. The brevity of the poem and it's whimsical diction manages to make readers also miss Ivy. This poem is a poignant look into the peace of acceptance and letting go after holding onto memories for so long. 

4. "Back to Freedom" - bellylove

Watching ‘90s sitcoms during your covid convalescence pays off in the form of forgotten tracks. Evocative, swaying, forlorn, but comforting. Ever-so slightly  western-laced, this track paints the image of one roaming deserted lands with nothing but a guitar on your back walking away from the past and into an uncertain, but more hopeful future. Reminiscent of Mazzy Star.

5. Buffy the Vampire Slayer dir. Joss Whedon

The aforementioned ‘90s sitcom in question. Can we please bring back such grandiloquent set and costume designs, and themes that explore deep existential dread to TV? Also, Spike is more righteous than Angel despite everyone thinking otherwise. Angel is naturally “moral” and therefore requires no effort to be a decent person, whereas Spike actually makes the effort and tries, thus making him more genuine.

6. Rumskib - Rumskib

I was pleasantly shocked when I found out Rumskib’s self-titled LP was released in 2007 and not 1997. This dream-pop record is truly up there alongside the rest of the big names of the ‘90s. It’s clear that Rumskib takes inspiration from the likes of Slowdive, MBV, Pale Saints, etc., but their songs are still fresh and uncontrived. 

7. Bows - Blush

I didn’t find this album, it found me. Entrancing trip-hop is what you’ll find in this album. If you like Squarepusher, you will enjoy Blush’s mellow and textural tracks too. 

8. "Sugar Water" - Cibo Matto

Another song I've gleaned from Buffy the Vampire Slayer, and yet another trip-hop track. This song sounds like those hot and hazy August nights, and running down Parc Avenue in my cowgirl boots; what would be my last freedom of summer after my two week covid convalescence and before I'd be bedridden for another few weeks again with a foot injury. Don’t run down Parc Avenue in cowgirl boots.  

9. Geek Love - Bang Bang Machine

Cocteau Twins-esque, but with decipherable lyrics that will get you where it hurts.

10. Vashti Bunyan’s discography 

I’m certainly no stranger to the whimsy that is Vashti Bunyan’s music. In 2022, however, I found an immeasurable amount of solace in listening to her music out in nature while crocheting. Listening to her music makes me feel like I'm in a fairy tale. Her 1970 release, Just Another Diamond Day is quaint yet extremely, subtly and ineffably hard-core for a folk album at some points. You're just going to have to listen for yourself. 

11. Big Bunny - Alaska Reid

Gosh. A phenomenal album from such a heartfelt artist. Tracks “Pilot” and “Oblivion” are among my favourites. Alaska Reid just gets it. Reminiscent of Soccer Mommy, but with A.G. Cook’s production. Will hopefully get to see her live soon.

12. Cécile McLorin Salvant’s performance at the Montreal’s 2022 Jazz Festival
Selecting shows to include in this list is a stressful endeavour, because I cannot possibly remember all the shows I did see. Jazz artist Cécile McLorin Salvant stands out among the rest, for her gentle feminist-rage laden lyrics, the infections of her vocals, her fashion choices, and her flooring rendition of Kate Bush’s Wuthering Heights. Please, check her music out!

13. Discreet Music - Brian Eno

Listening to this album in the midst of winter, granted me such reprieve from the winter blues that putting this record on and then deep cleaning my space is now a ritual. The title track of the ambient record sounds like the snow and ice thawing, the residual water making the grass the most vivid green one ever did see. It sounds like beavers exiting their dams, the squirrels leaving their alcoves. It sounds like fresh spring air. Best listened to on those few occasions when the winter sun peers through the windows, and onto your bed sheets. 

14.  Sex Revolts: Gender, Rebellion, and Rock ‘N’ Roll - Joy Press and Simon Reynolds

Honestly, I was tempted to gatekeep this one but that’s not very rock ‘n’ roll. This book looks at all the rock and post-punk icons you can think of from Bjork, Cranes, Aphex Twin, Kate Bush, MBV, the Rolling Stones, etc., and analyses their works and subcultures from a psychoanalytic lens and then through a feminist lens. The first half of the book does require some understanding about key psychoanalytic tenets from the likes of Lacan and Freud, but it still will make for an interesting read even without. I found this book at the Loyola library, and I admit, I was ~that~ person that had it taken out for months, because I was always reading it an re-reading it. I will be buying the book to add to my permanent library.

15. Becoming Editor here at CJLO!

It's been such a nifty privilege and oppurtunity, I am grateful for it. I hope to keep working with and meeting folks who are just as nifty!

 

Happy New Years to all, and here's to another year of great music, films, art, and moments! 

Released on November 11th, 2022, KD3 is the third and final album of Nas’ King’s Disease trilogy, which kicked off in 2020 and has been executively produced by Hit-Boy since its start. Arguably his best work of the three acclaimed albums, its immediate success has finally tied Nas with Jay-Z for most Billboard Top 10 albums by a rapper.

The album succeeds at reminding us of all the reasons Nas is one of the greats, not only because of his lyrics and messages, but also for the transportive quality of his music. Rapping “my old style is a rough of my new style” (“Once a Man, Twice a Child”), Nas also asks his listeners to remember the “First Time” they heard his music—always staying close to his roots and start in the hip hop game (which, he reminds us, was nearly “30” years ago.) Call-backs to Nas’ NY start in Queens, as well as different musical giants—Havoc, Starkim, E Money Bags, Grandmasta Vicis, Mary J. Blige, Slick Rick, and G Rap, to name a few—set up the album as coming from “the last of the kings” (“Ghetto Reporter”). KD3 is, put simply, real delivering to real. 

With no featured artists on any of Nas’ tracks—for the first time in 20 years—KD3 is a conversation between Nas and Hit-Boy. There is no doubt the two have fantastic chemistry, which they use to propel the album’s underlying ideas. HB’s beats and samples match the rapper’s famous lyricism perfectly, helping to bring us back further to Nas’ original sound, and the scene he grew up in. Beginning with a sample from 1991’s “The Five Heartbeats,” a movie focused on R&B legends, the album’s second track “Legit,” drives this point home. The track “Michael & Quincy” goes as far as to compare their partnership to the late Michael Jackson and Quincy Jones: 

“Like Quincy on the trumpet, Hit-Boy on a drum kit
Nasty like Mike on the vocals, I overdub it (Shamone)”

By situating himself in hip hop’s history, Nas shows he is a voice to be listened to, by old and young listeners alike. He raps about issues relevant still relevant in 2022, but keeps his old sound alongside HB, tying in stories and emotions from his start to the current climate (even using young ‘text talk’ in “WTF SMH”). This makes it impossible not to connect the two eras and see that, like Nas, this King’s Disease—defined by Nas in 2020 as “rich man disease”—has stood the test of time.

KD3 is meant to be a lesson to those who have come after Nas; he wants them to learn from his mistakes, from his late friends, from his evolution. After all, Nas is not immune to this lifestyle, and has been swept up in rivalries before, rapping in “Ghetto Reporter” that “most of us catch it [the King’s Disease] at one point or another.” Similarly, in “Reminisce,” he offers up “the things that shaped me: the streets, the beef, the beats.” 

Right on the nose in “Beef,” Nas, using his typical metaphorical style, personifies everything he is imploring others to move past:

 

Beef is my name, my story is age old

[…]

Jealousy and envy my right hands

[…]

I'm the words that get misinterpreted

[…]

Rumors turnin' into a monster, lies always mislead

By the time you hear what somebody said, it's stretched out
 

Far from nagging, or berating, Nas knows the struggle, and wishes to use his music to uplift and show others they can beat their affliction—their affinity towards money, jealousy, lust, greed and violence—in order to come together and provide a united front. Having lived through the consequences his whole life, both for himself and his community, Nas reminds his listeners that, above all, ‘beef’ twists reality and distances us from what is important. His plea for a different future is perhaps most apparent in “Thun:”

Brothers can do anything when they decide to

[…]

The future of our next generation ain't been established

Conflicted by some of the same patterns that had us

Money and social status, tell me what really matters

Overall, the album encapsulates what Nas has been trying to convey throughout the entire trilogy. Throughout KD3, he is very clear that this King’s Disease is a worldwide affliction, causing most destruction and wars, but also just as apparent in daily conversations and ‘innocent’ behaviour. “Don’t Shoot” is a perfect example. The track’s title is reminiscent of decades of police brutality against the Black community, which Nas ties into intra-community violence easily, asking for a lowering of the guns and an ear to listen to his message:

Don't shoot gangsters (Don't shoot gangsters)

Don't shoot (Give me some)

Don't shoot, gangster (Don't shoot gangsters)

You are him (You are him), and he is you (And hе is you) 

[…]

You are your own cure for your King's Disease

You gotta look inside to cure that

You got all the answers

Imagine no man shot for the next ten years

No man killed for the next thirty years

Think about how much we will attain

Packed tight with old school beats and samples, this new album is inarguably nostalgic—but, above all else, it is Nas’ observation of today’s society through a wiser lens, and a hopeful look towards the future.

When Cannibal Corpse roll through town, you know it’s going to be a good day. And Nov. 5 was no exception as their headlining North American tour rolled through Montreal.

While Cannibal Corpse’s set was supported by Black Anvil, Immolation, and Dark Funeral - a really impressive lineup of bands on top of the main act - I regrettably could only make it for the headlining set. After a brisk bike ride downtown from Côte-Vertu metro (in record time, I might add), I was in the moshpit with the best of ‘em as Cannibal Corpse frontman George "Corpsegrinder" Fisher was headbanging away centre-stage.

I’ll have to be honest: I’m not really the biggest fan of Cannibal Corpse in-studio. While their songs aren’t too different from contemporary death metal acts on paper, the band tend to play their tunes in a very one-tone “as heavy as possible” manner, resulting in ear fatigue pretty quickly in my opinion. As the age-old adage says: heavy as hell all the time is heavy as hell none of the time. I was worried this would be the same case with their live performance, as a lot of bands sound fairly similar in-studio as they do on-stage. But my worries were squandered almost immediately after entering the venue.

Cannibal Corpse kick some serious butt live. The sheer heaviness of their output - from drummer Paul Mazurkiewicz’s frantic use of the kit, Erik Rutan’s ability to turn his hands into a complete blur on the lead guitar, to Fisher’s Earth-shattering vocals - these death metal titans can really make a room rock. The moshpit was one of the most intense I’ve ever seen, as the sold-out MTELUS turned into a swirling hurricane of sweaty t-shirts and splashing beer. This was really a super-spreader event I could get down to.

Fisher also made good use of his infamous headbanging, which legend says is the cause of his massive neck - rivaled only by Slipknot frontman Corey Taylor. Actually, I take that back. We need to get these two guys into room for a measuring contest. Regardless, it was really impressive to see Fisher’s skills in a live setting, his swinging head creating a massive spinning fan of sorts, which commanded the moshpit like some kind of hairy maestro. The vocalist also donned a shirt that sported text saying “Protect the Neck,” which bordered a cartoonish drawing of his own face; a glimpse of Fisher having a good sense of humour about the whole thing.

If Cannibal Corpse are ever near you - pay them a visit! Literally. They put on a show that is well worth it.