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Vendou Finds His Voice on Latest EP
Montreal rapper Vendou may be releasing his third EP in a year and a half, but Trèdou, the artist’s latest EP, might be the one where he found his voice.
“I think I’ve just put my finger on a voice that I can use that speaks to me and that I like,” the rapper says. “I was having, not difficulties, but I was looking for that sound. I think I’ve put the finger on it, and because I was doing it by myself, I was less shy to try things and to experiment.
That curiosity to try new things was spurred by the end of a tour supporting fellow Montreal rapper FouKi, a compatriot of Vendou’s in local rap collective La Fourmilière. With a few months of looming idleness during the dead of winter, Vendou figured he needed to get up off the couch after a bit too much Red Dead Redemption following his first week back from touring. Isolation proved to be a key ingredient though to get the rapper’s creative juices flowing, as setting up a small recording space within his bedroom allowed Vendou to take stock of life.
“I took that time to enjoy being by myself,” the rapper explains, “and it’s really about that, the EP. The meaning is really like… appreciate where you are, appreciate where you were, appreciate the road between every step you go forward. It’s really about being good with yourself, good in your body, good in your mind.”
On Trèdou, Vendou creates a silky flow that artfully fuses rapping and singing, much like his contemporaries FouKi and Mantisse of hip-hop sextet LaF. Vendou is proud to admit the blending of styles from his partners in La Fourmilière. “I’m really open to people around me sharing and, not copying, but taking a bit and making it mine,” Vendou says. “We all do that in La Fourmilière. I think it’s how we’ve grown through the years.”
As one of the founding members of the five-piece rap group L’Amalgame, it was at first an effort for Vendou to make the jump from contributing just a verse to fleshing out an entire song on his own. After three solo EPs, Vendou is a lot surer now of how to distinguish his separate roles.
“I think I’m more free when I’m just Vendou, it’s really just me,” explains the rapper. “It’s more like a role that you have to know where you stand in L’Amalgame. So, I know what’s my role in a song, and that’s what I’m gonna do to bring the song up, and if all members do it, we have a good song [laughs].”
When asked what attracts him to the EP format over an album, Vendou believes that the former provides a less stressful outlet to creative expression, where songs don’t necessarily need a common bond. That said, the rapper is not shy to admit that he’s already in the nascent stages of crafting his debut solo album.
“For me, an album is more complete,” Vendou explains, “and you need to have musicians, and I really want to do an album with one producer. Right now, I’m working with a lot of people around me. I’ve met that guy [laughs], so we’re gonna do an album together and we already have some demos. An EP is more [about] finding yourself, finding what you want to do, what you want to have for sound.”
But the album is only in its infancy and far away in the future. In the present, Vendou has material from his latest EP to mine for his set at OUMF, one where the rapper will have to reach out not only to fans, but to the many people simply passing by back-to-school festival’s base in the Quartier Latin.
“I think you have to be versatile,” says Vendou. “OUMF is going to be 25 minutes and I’m used to doing 45 [minutes] or one hour, so it’s just gonna be like [smacks palms together] in your face.” As the rapper further explains, “You have to just stand out, go see the people, ask them to sing with you.”
Despite plenty of experience in handling an audience, when it comes to the art of working the crowd Vendou is still a student soaking in knowledge, even from some of the modern masters in the field.
“I was at Childish Gambino’s show at Osheaga,” Vendou recounts, “and something he said [was] ‘put down your cell phones, this is not about you, this is not about me, this is about us.’ I was like ‘this is so real.’ That’s what a show is.”
Vendou plays OUMF (de Maisonneuve & St-Denis) Thursday, Sept. 5, 6:20 p.m., free. See the complete programming here. To listen to Vendou's latest EP, Trèdou, check it out on Bandcamp.
Alex Viger-Collins is the host of Ashes to Ashes, your weekly dose of modern pop, every Tuesday at 8:00 PM EST.
Photo Credit: Marie-Emmanuelle Laurin
Shortage Of Teachers In Montreal's Schools, VRRWS Faces Violent Graffiti, Thunberg's Arrival In New York
Ahmad Moujtahed
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LOCAL
As students begin their new school year, Montreal’s French school board struggles to fill vacant teaching positions.
The Commission Scolaire de Montréal (CSDM) says it needs around 1,500 teachers over the next five years to meet the needs of the rising student numbers. The president of the French school board told CTV news that the board is working with local universities to ensure more teachers graduate. She also added that Bill 21 and its ban on religious symbols has not caused any candidates to be refused work.
The board recently changed its stance on Quebec’s secularism law. Originally, the school board said it would fight Bill 21, but it recently published hiring notices saying employees will be subject to Quebec's secularism laws.
NATIONAL
The Vancouver Rape Relief and Women’s Shelter (VRRWS), an organization that provides shelter and services for rape victims and women fleeing domestic violence, has become the target of violent graffiti.
Threatening messages such as “kill TERFS”, an acronym referring to “trans-exclusionary radical feminism”, were written across the windows of the organization’s Kingsway education centre.
The organization was deemed “discriminatory” by the Vancouver community for its policy of denying services to transgender women. The centre says that this policy is necessary to protect women who have experienced male violence and may not be comfortable around transgender women.
INTERNATIONAL
This was part of Greta Thunberg’s speech upon her arrival in New York after a 15-day trip across the Atlantic. The 16-year-old Swedish environmental activist has travelled to the city to attend a UN summit on zero emissions after refusing to fly because of the carbon emissions caused by planes.
The teenager has made headlines for her "school strikes" which have inspired a worldwide climate change protest movement. Her first "strike for climate" took place outside the Swedish parliament in August last year.
Thunberg has been officially invited to the Montreal march against climate change next month. Quebec activists hope that the young activist’s presence would encourage people to walk out of work or school to march for the environmental cause.
Longer Wait Times In Quebec Emergency Rooms, Bear Attack In Northwest Territories, New Record For Amazon Wildfires
Ahmad Moujtahed
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LOCAL
A new analysis by the Montreal Economic Institute (MEI) reveals that between 2018 and 2019, patients across Quebec experienced longer wait times in emergency rooms.
Although fewer patients were treated in the 2018-2019 fiscal year compared to the previous year, the report indicates that patients on stretchers waited on average 14 minutes or longer.
The analysis shows the effects of healthcare spending cuts and ministerial directives by the former Liberal government.
According to CTV news, patients' rights advocate Paul Brunet says adding privately-owned hospitals would only help if all Quebecers had access to them. He also says Quebec needs to do more to provide people with easier access to a physician.
NATIONAL
Canadian sound engineer and composer Julien Gauthier has died after being attacked by a grizzly bear in a remote area of the Northwest Territories last week.
Eye-witness reports revealed that the 44-year-old man was awoken by the bear in the middle of the night and dragged away from his tent into the darkness. The man's body was found by RCMP officers the next day.
The deceased composer was travelling across the Mackenzie River in the remote Tulita area of the Northwest Territories in order to record sounds of nature for a musical project he was working on.
Cathy Menard, the territory's chief coroner, confirmed to CBC News that the man’s body was in Edmonton, awaiting an autopsy. An official cause of death is expected to be released soon.
INTERNATIONAL
Concerns mount as wildfires in the Amazon rainforest hit a record number this year, with almost 73,000 fires detected so far by Brazil's space research centre INPE.
The surge marks an 83% increase over the same period of 2018 and is the highest since records began in 2013, according to Sky News.
Many are criticizing Brazilian president Bolsonaro’s environmental policy. Bolsonaro vowed to develop the Amazon region for farming and mining, ignoring international concern over increased deforestation.
Recently, he fired the director of INPE for “making up” statistics that show an increase in deforestation in Brazil.
Neurosis at Théâtre Corona, August 14th 2019
“Neurosis” is an archaic psychological term used to describe a variety of mental ailments, forgone nowadays in favour of other terms. Depression, anxiety, chronic stress, obsessive-compulsive disorder, etc. are what “neurosis” is most often associated with. So fitting is that word as the band name for Neurosis, one of the world's quintessential avant-metal bands. Their music explores the deep crevices of the mind, scratching away at the walls of your darkest feelings… only to suddenly burst out with an explosion of primal rage leaving you in a dizzied haze of grief.
That really sounds unpleasant, doesn’t it? Yet it’s often necessary to face these negative emotions and Neurosis’s music is an effective vehicle for this. When the band played Montreal’s Corona Theatre on August 14, it was nothing less than an emotionally liberating experience. The crowd was sizeable, though the venue was far from being full – this ultimately provided a more personal experience as the main focus was on the music. Neurosis contrasts with a lot of metal bands in the sense they drop any intentional cheesiness, yet they aren’t so stern and solemn to the point of being ridiculous. The performance was a no-frills spectacle, only letting the usual venue lighting provide visual dynamics. Playing a selection of tracks, mostly from their recent efforts (which isn’t saying much considering how irregularly the band releases new material), we were treated to a raw and barebones show with little distraction. The trade-off vocals from band leaders and guitarists Scott Kelly and Steve Von Tillman were perfectly executed, with an incredibly powerful rhythm section lead by drummer Jason Roeder. I can strongly recommend seeing the band, whether or not you are familiar with them, or if you are even into metal at all. That night, it was all about catharsis.
Supporting acts included Bell Witch and Deafkids. Bell Witch is comprised of two members, bassist Dylan Desmond and drummer Jesse Shreibman, both sharing vocal duties. They played a set that was akin to their studio recordings, playing a continuous 40-ish minute song. Although seemingly lacking structure, the bigger picture allowed for some heavy atmosphere to build up for a thrilling climax before calmly closing off. Subtlety was key, and anyone tuning in can grasp feelings of somber grief which comes heavy-handed knowing their latest record, Mindreaper, was a tribute to the band’s late drummer, Adrian Guerra.
Deafkids, being Neurot Recordings signees, leans more to the experimental and psychedelic side, using a number of vocal filters and looping pedals to create an abrasive atmosphere. This is all held together by tribal and jazzy percussion patterns.
Overall, I left the Corona Theatre with a heavy heart, but a light spirit. The soundscapes at hand were heavier than a cinder block dragging you to the bottom of the ocean, but the feelings exerted were those of acceptance and liberation. I will see Neurosis again and I hope you will too.
Philippe L'Espérance is the host of Sin After Sin, which airs on CJLO every Wednesday at 10:00 PM. You can follow him on Facebook and Instagram @sinaftersinradio.
Fantasia 2019: Week 3 Review
In the final week of the 23rd edition of the Fantasia Film Festival, I had to narrow down my viewings. There was only so much time on my day off to get in as many films as possible. Unfortunately, I did not hit my record of viewings compared to other years, but I am very happy with the films I chose to focus on. Both the Cinema Lucida and Documentaries From the Edge provide the festival with some great programming.
Starting off with the Documentaries From The Edge section of the festival, I landed on a screening of Shooting The Mafia from director Kim Longinotto. This documentary showcases Sicilian photographer and photojournalist Letizia Battaglia, who has spent most of her career capturing the mafia through the camera lens. The film exposes her battle with the mafia, by being both a fearless photographer and someone to be feared. By exposing their crimes through photography, she has given a voice to the dead, brought justice, closure, and sometimes the pain that comes with loss. The film also showcases her run for politics as well. Longinotto has given a spotlight through this documentary on a powerful individual and her camera. This is also very informative documentary on the rise and power of the mafia in Italy - a must watch.
The Legend of The Stardust Brothers is a must-see Japanese pop rock mockumentary from 1985. Every single cliche from 1980’s pop music and boy bands can be found in this ‘cult classic’ from director Makoto Tezuka. Lead characters Shingo and Ken are seen as polar opposites: one is in a pop band and the other, a punk band. Both of them are summoned to Atomic Promotion and forced into a contact that would have them as a musical duo, The Stardust Brothers. Reluctantly, they agree... and then comes the highs and the lows of being in a pop musical act, from the intense fandom to the rival musician who is almost a caricature of David Bowie. With similarities to the music of the 80’s, especially Culture Club, nothing is off the table in making fun of 1980’s music and the boy band culture. This classic had me giggling long after the credits rolled. If you are a fan of Popstar: Never Stop Never Stopping, 80’s music, 80’s music videos, or have a secret appreciation for pop bands, then this movie is for you. It’s a good thing I checked all those boxes.
Continuing on the foreign section, and more precisely movies from Japan, I went to a screening of Dare To Stop Us from director Kazuya Shiraishi. It is based on the true story of 60’s and 70’s counterculture cinema which happened in Japan. Koji Wakamatsu was the notable director behind these films that subversed the stereotypical norm, leading to the genre of pink films. The style was a certain type of guerilla filmmaking, and it did not get received well by critics Instead, it resonated more so with the teenage audience members that it was marketed towards. The film also discusses the group of filmmakers who were involved in making these Wakamatsu films, and especially the female assistant directors that would later become successful directors in their own right. Even though this is a fictionalized drama based on real events, it perfectly showcased the early days of guerilla filmmaking and subverting genre expectations.
The last film I caught was from the Cinema Lucida section - a foreign film from France. Jessica Forever, from directors Caroline Poggi and Jonathan Vinel, involves a post-apocalyptic world where young men who have committed violent acts and other atrocities to society are being hunted by killer drones. Their safe haven comes in the form of a female renegade named Jessica who takes these lost boys under her wings, and in turn teaches them how to protect themselves. The boys also grow and develop relationships with outsiders of their group, which puts their love and loyalty to the test. This film subverts the notion of the post-apocalyptic world by showing themes of redemption and love for the social outcasts.
This is the end of my Fantasia adventure for this year, however I can’t wait to catch up with the films I missed, or rewatch the ones I love when they get a wider release. I’d like to extend a big thank you to the entire Fantasia team for their wonderful hospitality during this year’s edition. Also, thank you to CJLO 1690 AM, the magazine department and program director Allison O'Reilly for sending me as one of the media correspondents to cover this years Fantasia Film Festival.
As always: bon cinéma!
Fantasia 2019: Week 2 Review
For the second week of the Fantasia Film Festival, I was hoping to catch up with some film screenings on my only day of the week that I had off work. The first film I caught can be seen as relevant to the not-so-distant future, and includes questions of “what if we saw space exploration as a commercial enterprise the way billionaires Richard Branson and Elon Musk have been toying with?” Astronaut from director Shelagh McLeod tells the story of an aging engineer Angus (Richard Dryfus) who has a passion for astronomy. Given his age and his health problems, the idea of submitting his name for the lottery for a chance to win a commercial voyage to space seems quite far fetched. After moving into a nursing home, Angus decides he will not waste the rest of his life and submits himself as a candidate. He wins the lottery and has to convince the people of the Ventura company, their executive Marcus (Colm Feore), and his daughter's family, that he is fit for the space mission. This is a feel good movie, one that I usually tend to avoid from the festival, but it has nonetheless found its way into my heart (along with the great score from Virginia Kilbertus).
Pink hues are the prominent colour of choice can be seen in Knives and Skin, the latest from director Jenifer Reeder, as well as strong David Lynch aesthetics. This mystical teen noir starts off with a dark tone; a young teenager named Caroline Harper (Raven Whitley) goes missing. The students at Caroline’s high school are caught up in their inter-high school politics, while also grieving the loss of their friend. The parents are trying to move on, especially Caroline’s mother, who works as the school's choir director. This movie had great musical interludes, including New Order’s Blue Monday and Cyndi Lauper’s Girls Just Want To Have Fun. The true nature of this movie thematically speaking about feminism comes towards the end of the film, but is hinted all throughout with its aesthetic choices and the dynamic characters which represent their own individuality. A great line from this film, “I need to know there is a way out of this,” comes as a great moment with the light at the end of this Noir.
Black Magic For White Boys from director Onur Tukel is a dark satirical comedy that begs to question what it means to be committed to a relationship, how to live in New York, and also… magic. What happens when we venture towards the dark? Can we turn it all around? Oscar (Onur Tukel) is convinced by his friends to go to a magic show on a double date. The magician performing at the theatre is having issues with the shows not selling well and almost losing the theatre. We are shown the illusion even before it happens of the disappearing individual being lead backstage, providing a very funny set up montage on someone’s first day of work as an assistant. However, the magician has some dark tricks up his sleeves, including a book on black magic. He puts his new abilities to the test by making his fellow theatre assistants vanish and reappear, which he later takes to his shows, making them sell out. Oscar and his friend, a real-estate developer, come to the magician in acts of desperation to use the black magic book to get rid of their problems. This movie is humorous at times, with thought provoking questions about relationships and gentrification in New York. This film is a funny, thought-provoking, dark comedy about the city and the characters who exist within it.
Extra Ordinary from directors Mike Ahern and Enda Loughman takes every paranormal demonic possession movie and cranks up the laughs to an amusement level on par with an Edgar Wright comedy. Rose (Maeve Higgins), once a paranormal ghost hunter, is now is a driving instructor. She meets Martin Martin (Barry Ward) who at first wants help with his deceased wife that continually haunts him and his home. Will Forte plays an aging rockstar, Christina Winter, whose claim to fame was being a one hit wonder - a performance right out of a Saturday Night Live skit. Winter starts working on his next album, while also trying to renew a satanic pact to ensure his success. When Martin’s daughter becomes possessed, he calls Rose for help, leading on a very comical adventure to try to stop the rock star from using his daughter for his satanic pact. Using some great comedic references to other horror films and having the right comedic tonality of an Edgar Wright comedy, the audience helped to deliver a warm reception for Extra Ordinary at this year’s festival.
I could not catch the viewings of The Crow or First Blood this week because of time and work commitments. However, I do have them cued up for a future viewing. One of the best things about the Fantasia Film Festival is that they bring back these cult gems not only so they can be a first time view for some, but also so they can be experienced with an audience. Last year I got that experience with James Cameron’s Terminator 2: Judgment Day. Now that is the magic of going to the movies.
As always: bon cinéma!
Remi Caron is the host of At the Movies, which airs on CJLO every Tuesday at 8:00 AM.
AFFORDABLE HOUSING SUBSIDIES, CANNABIS PARDON, SAUDI ARABIA TRAVEL RESTRICTION
Holly Cabrera
LOCAL
The city of Montreal announced that the borough of Rosemont-La Petite Patrie will get $6.5 million in government subsidies for two housing projects.
The projects will create 150 affordable units. Twenty per cent of them will be three-bedroom apartments suitable for families.
The cooperative La Joie de Rosemont plans to transform and expand a former medical clinic to create 55 apartments by October.
These subsidies are part of Mayor Valérie Plante’s election promise to develop 12,000 social affordable and family housing units by 2021.
Canadians charged with simple possession of cannabis will now be able to apply for a pardon online for free.
On Thursday, Justice Minister David Lametti announced that Bill C-93, legislation that was adopted last June is now in force, meaning that Canadians with criminal records for possession of up to 30 g of cannabis won’t have to wait five years after completing their sentence to apply for a pardon.
Lametti said it was the next logical step after Canada legalized cannabis consumption last October.
Saudia Arabia announced its plans to allow women over the age of 21 to travel without needing permission from a male guardian.
When the order will take effect, however, is still unknown.
The announcement follows a series of young women fleeing the country and seeking asylum after alleging that Saudi Arabia’s controversial guardianship laws made them slaves to male relatives.
Currently, women of any age require a guardian’s permission to travel internationally.
CJLO @ JFL: HUMANS WHO MAKE GAMES
On Saturday, July 27th hillarious comedians Adam Conover and Ron Funches interviewed Ubisoft’s creative director Jean Guesdon about his work on the Assassin’s Creed franchise as part of Conover’s Humans Who Makes Games podcast. This hour of video game comedy was an absolutely informative delight!
Conover hosted the podcast with great charisma and expertise. Funches was the first guest on the show, discussing his favorite childhood games with Conover. It was heartwarming to hear Funches talk about introducing his 16 year old son to the Metal Slug series. Conover and Funches also discussed the obstacles comedians face when trying to play video games while on tour before discussing the different reasons that people play games. Funches is an excellent podcast co-host and with great insight. I’ll be looking forward to his upcoming Top 10 Games of 2019 list!
Conover and Funches then invited Jean Guesdon onto the podcast. They interviewed him about his career and motivations behind the designs of the Assassin’s Creed series. Funches and Guesdon bonded over their love of pong. It was so fascinating to hear about Guesdon’s background in toy design and how working at Mega Bloks prepared him to work in the video game industry. Guesdon injects his love of history into each Assassin’s Creed game and it was wonderful to learn about the series’ innovative Discovery Tour Mode - turning the games into a virtual museum for players to explore. Guesdon’s talent and hardwork are incredibly inspiring and it was exciting to hear Conover interview a AAA developer for the first time.
Adam Conover doesn’t ruin anything - he elevates all of the projects that he works on! It was such a privilege to hear Conover, Funches and Guesdon talk about their craft. The three of them stand out in their fields because of their incredible talent and ingenuity. I am so excited to see what the future has in store for them.
Humans Who Make Games with Adam Conover is available wherever you get your podcasts. Tune in to hear Conover have intimate conversations with the creators of some of the world’s most remarkable games. You’ll be able to hear Conover and Funches' interview with Guesdon on the podcast in the near future!
This is all part of CJLO 1690AM's coverage of the Montreal Just For Laughs Festival. Founded in 1983, Just For Laughs is the largest international comedy festival in the world: showcasing the funniest comedians of all time! For more information and to buy tickets, check out www.hahaha.com before they're all sold out!
Fatal Attraction is a surreal comedy talk show hosted by Patricia Petit Liang. Tune in every Friday from 11AM - 12PM to hear Patricia play weird Youtube videos, give really bad advice and interview a variety of super cool guests!
CJLO @ JFL: SHE THE PEOPLE
Second City Toronto’s She The People is an outstanding, intersectionally feminist sketch comedy show you absolutely need to see! She The People ran until July 27th at the Centaur Theatre, featuring powerful performances from award winning, multi-talented artists Ann Pornel, Ashley Comeau, Kirsten Ramussen, Paloma Nuñez, Tricia Black and Karen Parker. She The People will make you laugh, cry and reflect on the challenges women and gender non-conforming individuals are still facing in 2019.
She The People was one of the smartest, meticulously-arranged comedy shows at this summer’s Just For Laughs festival. She The People’s strong cast and wonderful director Carly Heffernan, musical director Nicole Byblow, stage manager Meg Meguire and choreographer Gillian Bartolucci really bring this show to life with incredible coordination and attention to detail. She The People is fast-paced, filled with thought-provoking, multimedia sketches put together with immense love, devotion and care.
She The People covers a wide range of topics, including becoming your own mother, celebrating your curves, the #Metoo movement, climate change, racism, stress periods, mercury being in retrograde and important current events you oughta know! Each sketch is written so perfectly and She The People’s performers honor each of the difficult topics they confront with beautiful performances. She The People incorporates dynamic physical comedy and hilarious musical numbers. Ann Pornel stands out gorgeously with her powerful singing and impeccable dance moves.
She The People is an incredible comedy show you can’t miss! If they come to your city, you have to see them perform. She The People speaks to women and gender non-conforming individuals in such an empowering way. There are so many moments from the show that I’ll be thinking about for the rest of this year!
This is all part of CJLO 1690AM's coverage of the Montreal Just For Laughs Festival. Founded in 1983, Just For Laughs is the largest international comedy festival in the world: showcasing the funniest comedians of all time! For more information and to buy tickets, check out www.hahaha.com before they're all sold out!
Fatal Attraction is a surreal comedy talk show hosted by Patricia Petit Liang. Tune in every Friday from 11AM - 12PM to hear Patricia play weird Youtube videos, give really bad advice and interview a variety of super cool guests!
Metal Monday Album Review: Full of Hell - Weeping Choir
Full Of Hell’s highly-anticipated fourth full-length Weeping Choir launched back in May to critical success. Just between me and you, we’re well aware how tardy this review is being published. Now I, illuminated by my unnecessarily bright laptop screen in an otherwise deprived-of-light basement at two o’clock in the morning, could sit here and reason with you as to why such a big release wasn’t covered back on May 17th when it originally debuted. Perhaps the complexity and pummeling nature of Full Of Hell’s music needed a whole month and a half to properly decipher, or maybe one can find meaning in the inverse relationship between this album’s full-throttle attitude and my lazy summer work ethic. Regardless, none of us are in the wrong, as people are still talking about this record and so should you. Here goes!
Full Of Hell have become a household name within the death/grind arena of metal music, which is a somewhat impressive feat considering they just celebrated their ten year anniversary. While they are still playing dingy bars and backyard barbecues, the quartet are otherwise omnipresent within the scene thanks to incessant touring, constant artist collaborations, and fan gushing. You may recognize them from their recent tours with Gatecreeper, Genocide Pact, and Primitive Man, or their various splits/EPs with artists like The Body and Nails. What else can be said?
Weeping Choir hails in similar fashion to the group’s prior album, 2017’s Trumpeting Ecstasy. This new output is another full-length carrying a long tracklist but who’s runtime doesn’t meet the industry standard of thirty-minute full-length quotas. So what. Nothing about this is standard. Or is it?
After a few listens, there’s something comforting about the mathematical and otherwise algorithmic nature of Weeping Choir. While listening to ‘50s swing music will surely tell you a thing or two about typical song structures, you’d think that Full Of Hell’s 2019 sonic amalgamation abomination would take you to the opposite end of the spectrum, towards that of noise and nonsense. However, in surprising fashion, I found myself seeing clearly through the staticky haze of Weeping Choir, much like those television geniuses who see white chalk equations floating around their heads.
I found appreciation within Full Of Hell’s ability to inject a sense of balance into an otherwise hectic release. While I’m sure there will be fifty bearded, baseball cap, ill-fitting Gildan box-fit t-shirt-wearing teenagers at my door willing to parry my argument with their acquired ability to sit through successive hours of noisecore albums, I don’t think the full-length music format really fits the whole “don’t stop ‘til you drop” grindcore thing. Of course, that’s why all these bands like Full of Hell hand out splits and EPs akin to makeup companies handing out freebies when a new line of skin moisturizer comes out.
Weeping Choir just has a nice ebb and flow going on. With the juxtaposition between visceral screaming and harmonized segue tracks, and precision blast beats rattling at a million miles an hour, there’s something larger behind this album. Be it thanks to a large floating hand dangling these tracks via connected string, or perhaps just Full Of Hell’s songwriting ability, the album is very controlled and almost pre-destined. I’m no man of faith, but there might be higher powers responsible for this album’s orchestra of destruction. From the machinegun “rat-a-tats” on “Aria of Jeweled Tears”, to the call and response screaming of “Haunted Arches”, this album is just very tight and well executed, which can be heard in the aforementioned details, as well as within the record’s full scope. Ultimately, Full Of Hell encapsulates this hidden death/grind art of balancing chaos and order, all while pumping out memorable songs.
Hunter Walwaski is the co-host of The Iron Club, which airs on CJLO every Sunday at 9:00 PM.
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