Amidst the insurgence of the pop-rock-grunge-alternative music scene, Jeff Buckley was the steadfast stone against the current that was the onslaught of popular punk-rock music. While Greenday released their first major studio album, Dookie, and ushered a new era of pop-culture music, Buckley instead chose to be the resistance. Combating the music scene which threatened to be homogenized into the new and growing sound of grunge-punk, Buckley flooded the music scene with his original folk-rock songs and re-vamped versions of classics like Led Zepplin’s, “Night Flight”.
The most important aspect Buckley brought to the table was his incredible voice. Somehow both ephemeral and tangible at once; Buckley’s voice truly is angelic, and I understand where the title of the album comes from. The album opens with his original song, “Mojo Pin,” which features Buckley’s voice breaking through silence in a haunting and sublime interference, as the song fades in so slowly it is almost imperceptible at first, before building with Buckley’s vocals.
Buckley had a huge impact on the music scene in New York in 1994. Where other musicians had tried to kick off their career by doing covers of songs that were (already) over-done, trying to play them in the exact same way; Buckley shone through the masses like a lighthouse. His renditions of the same songs were always vastly different and always stimulating. Take for example his cover of Leonard Cohen’s song, “Hallelujah”. Arguably a favourite to be covered by artists, all of them always sounding the same. Except of course, for Buckley’s version. Indeed, Buckley’s version of the song has come to be the most popular version of the song. Included as the sixth track on the Grace album, Buckley’s rendition of “Hallelujah,” could not be more different than Cohen’s. Where Cohen’s version is comprised of a heavy, jazzy-blues sound, Buckley turns “Hallelujah,” into a light, airy melody which truly gives the impression that he knows the secret chord.
Jeff Buckley’s album, Grace, is one that has stood the test of time, only becoming more popular since it’s release in 1994. Grace will continue to inspire for years to come.
Jeff Buckley’s only full length studio album, Grace. (August 23, 1994).
With each year that passed bringing me closer to finishing my university degree, I began to feel older and more decrepit than I ever ought to feel. Every year it seemed each generation became less infatuated with the suave, seductive boy bands of my youth, and I became accustomed to the fact that millennial’s would never feel the same kind of love for the music and boy bands as I did when I was a pre-teen girl, freakishly hoarding burned CD’s scrawled on with black sharpie.
Such was true for my copy of NSYNC’s 2000 album No
String’s Attached. I was particularly fond of “Bye Bye Bye,” the lead
single from the album. Everyone knew the scandal of NSYNC’s legal battle with
their manager Lou Pearlman and former record label,
so as much as I was hoping the song meant JT and his then-girlfriend (Brittany
Spears) had split, the song was speculated to be about the bands split from
their former label.
The song features heavy kick and bass, and catchy lyrics which
are impossible to get out of your head. Not to mention NSYNC stomping in unison
to a dance that would become iconic with the ability to get your entire high
school in a flash mob. NSYC’s lyrics spoke to the hearts of many: like
puppets being played with, “(Bye bye) Don’t wanna be a fool for you / Just
another player in your game for two”. “Bye Bye Bye” boasts a theme and beat
that will never get tired.
I used to lament the fact that millennial’s would miss out on the best generations of music: with every year, and every new boy band hair flipping their way onto the music scene with less classy swagger and more haughty grins, I was increasingly aware of the distance between new age music and 90’s classic’s like NSYNC.
But that changed in 2018. Backstreet’sback, baby! With their single “Don’t Go Breaking My Heart,” it was only time before the other popular 90’s boy bands would reunite and follow suit.
And follow they did!
Just March 1st of 2019, New Kids on the Block released
their first song in 11 years – even paying homage to “Bye Bye Bye,” in their
music video by dangling by strings like marionettes.
NSYNC by today’s standards may not be the most attractive boy band there ever was, but in the 90’s they were every teenage girl’s daydream. And maybe we’ll be seeing more of them soon.
Carly Rae Jepsen is a name which has recently resurfaced, and it immediately triggers flashbacks of sweaty, sticky high school dances and nervous smiles shared across a dance floor. With her previous album released in 2015, the “Call Me Maybe” singer recently released her newest single, “Now That I Found You” for her forthcoming album due in 2019.
The Canadian singer/songwriter has created a lovely story in her song, “Now that I Found you”. If you watch the music video released with the song, the lyrics, “now that I’ve found you” take on a whole new level of meaning. A sweet story of an adopted kitten and the love between a pet-mom and pet – it’s the love story we never knew we wanted, but that we definitely needed. The song tells a story that anyone can relate to – about finding a new love yes, but also if you’ve adopted a pet before, you surely know the feeling. Jepsen said in an interview with Pitchfork:
“‘Now That I Found
You’ is about the high you get when a new love starts to change your life. It’s
like the rush, rush, rush is better than any drug.’”
The theme is clear from the lyrics of the song, “Thought it was impossible / It’s just like a miracle,” a universal emotion, a thought everyone has had once in their life – that you would never find love again, but lo and behold! The next love suddenly appears, and with the cutest marmalade kitten in his arms, no less. The lyrics and instrumentation of the song make it a pure radio-pop hit. Jepsen’s sound is a mix of Taylor Swift (Reputation era) and Katy Perry (“Last Friday Night”). The song holds themes of love, but in an up-beat pop ballad begging to get your head boppin’.
Carly Rae Jepsen’s newest single, “Now That I Found You,” part of her 2019 album which is set to be released in 2019.
Classic 1930’s and 40’s jazz songs are artfully embedded in the lyrics of Hozier’s new song, “Almost (Sweet Music)”. The song pays homage to a number of classical artists such as Duke Ellington and Ella Fitzgerald by integrating song titles, lyrics, and the names of these iconic artists throughout the song. Hozier has created an intriguing and satisfying melody which is pleasant to the ear and the soul.
The Irish indie-rocker keeps his toes in soul, blues, folk, and R&B music for inspiration. The fourth song on Hozier’s newest album, “Almost (Sweet Music)” is a refreshingly different and expressive song, which truly gives fans the history of his inspiration. Opening with hand claps and a catchy beat, the song is a clever mash-up of jazz/soul song titles and artists who influenced Hozier himself in his musical tastes while he was growing up. Sometimes referencing only the artist, sometimes just the name of a song, and sometimes both: “Do I owe each kiss to lip and cheek as soft as Chet can sing ‘Let’s Get Lost’” in the second verse, Hozier pays tribute to Chet Baker’s song, “Let’s Get Lost”.
In an interview with Entertainment, Hozier said that “Almost (Sweet Music)” was “a fun song writing challenge. I was also eager to point to some of the music that shaped my formative years […] it was a way to leave little bread crumbs for younger fans to follow a path to check those songs out”. You can hear a playlist of the songs Hozier pays homage to here.
Hozier released his newest album early March 2019 entitled, Wasteland, Baby! The album touches on important themes such as politics and religion. Billboard recorded this as the first rock album to top the Billboard 200 so far in 2019. It is Hozier’s second studio album.
Hozier’s, “Almost (Sweet Music)” appeared on his newest studio album, Wasteland, Baby! Released March 1, 2019.
“We all float down here.” – a line which never fails to make my skin crawl. So imagine my surprise when I heard it while listening to Marianas Trench’ new song “The Killing Kind”. The Canadian pop-rock band released their newest album, Phantoms on March first. This is the band’s fifth studio album, and “The Killing Kind” is the final song on the album.
I was intrigued when the song first started – it finally sounds different than all their other music! The song starts with harpsichord, and slowly introduces a triangle – it almost sounds like a more up-beat but less-scary Jaws theme song. Josh Ramsay’s voice starts it off quiet and low, until the song picks up with the classic reference to IT.
But unfortunately the song is also a classic – classic because it sounds like every other song Mariana’s Trench has released. The song borrows the band’s theme from their past two albums, referencing lines from other songs or albums in each song. “The Killing Kind,” as the outro concludes with the line, “just hush, Eleonora,” to blend back into the intro track, “Eleonora”. While this album-as-one-extended-song move was exciting in their 2011 album, Ever After, it misses the mark in Phantoms because there’s no clear thematic train to link the songs together.
“The Killing Kind,” builds into the same “Astoria” sounding-scream by Ramsay, and then an alien-siren comes in, before becoming sweeping orchestral music, then the band harmonizes, and then one final smashing-together of all the sounds with Josh Ramsay’s voice before what you think is the end. But then, the song comes around full force again. They just don’t know when to quit.
Altogether, the song was an excellent choice for the close of the album, as it does seem like the band was trying to go in a different direction than in their other albums. The horror-esque theme with references to Poe’s poetry makes “The Killing Kind” intriguing, but ultimately, I think it ends as a six minute roller coaster of instrumental mash-ups which just leaves the listener nauseous.
Marianas Trench, “The Killing Kind,” off their 2019 album, Phantoms.
Avril Lavigne’s lead single, “Head Above Water,” was released September 19, 2018.
by Chelsea Ives
Queen Lavigne is here. No longer the pop-punk princess we once knew, Avril Lavigne reveals just how much she’s matured with her newest album, Head Above Water released this past February. In her sixth studio album, Lavigne shows a depth that contrasts strikingly with her old music. When I say “depth” I mean she has literally been stranded at the bottom of the ocean – but she’s back – with her head above water and her heart feverishly in her music.
Lavigne has been startlingly absent from the music scene since 2014. After contracting Lyme disease from a tick bite, Lavigne was on bedrest for almost two years – but now she’s finally back. After years of antibiotics and physical therapy for her dystrophic muscles, Lavigne traded in her bed sheets for music sheets. Now, propelled by her experiences, she’s making up for lost time. Lavigne has made a Ke$ha – come back: using her past experiences not only with her illness but also with toxic masculinity to bolster her voice, trading in her usual flippant attitude (“see ya later boi”) for a more serious, adult perspective. The album consists of a series of ballads, with a break in the middle with the more upbeat song, “Dumb Blonde” featuring Nicki Minaj.
“Head Above Water” the title track opens the album, starting with
elegant piano and Lavigne’s strong vocals. The spiritual gospel works like a
prayer, when she sings, “God keep my head above water …” Lavigne revealed on
her website that the song came from what she thought was going to be her
deathbed – truly the bottom of the ocean. The album’s set-up effectively moves
from where Lavigne’s been, to where she’s going. From the bottom of the ocean,
to the highest clouds in “Goddess,” Lavigne’s album is the story of her past,
present, and future.
Her songs, which resonate spiritually, touch places deeper than her old music, even her 2007 “When You’re Gone,” which used to be my go-to sad song when I was an angsty teenager. Come to think of it, so was her 2004 song “Happy Ending”. Oh, and then there was her 2002 song, “Complicated” … Lavigne clearly hadn’t stretched her musical abilities as far as they could go. Her 2013 single “Here’s to Never Growing Up,” easily represented how Lavigne went about her music career until now. All her pop-punk songs were catchy, but they were all the same. Now, Lavigne shows us exactly how much she’s grown up in Head Above Water, which has a different perspective, tone, and intention. No longer pumping out tunes for the masses of angsty teenagers – Lavigne gets real by describing her struggles and how she’s overcome them.
“Tell Me It’s Over,” the fourth
song on the album, opens with a gospel/jazzy/soul sound and Lavigne’s amazing
vocals, which only strengthened during her years off. The classic piano, and the
introduction of trombone and horns gives this song a smooth, strong feeling. The
sound of the song reminds me of the new song from Fall Out Boy, “Heaven’s
Gate”. It is clear Lavigne is done taking shit from any men. The lyrics, “I’m
so tired of certain emotions / That leave me dizzy and confused” are relatable
to anyone who has ever been in a relationship.
“Dumb Blonde” is the fifth song on the album, and musically the weakest in my opinion. Lyrically, and thematically I can see the feminist agenda that Lavigne is trying to push, but the “Hey Mickey” sounds pairs awkwardly with the introduction of Nicki Minaj rapping three quarters of the way through the song. The transition is chunky and jarring, which takes away from the “all-hail strong women” vibe Lavigne sets up in the rest of the song. The song was originally supposed to be a solo piece (you can see Lavigne perform the original here) but two weeks before the album’s release, Minaj’s verse was added to the song. However, the original version is stronger and more effective in getting Lavigne’s point across. In the original she sings, “(…) don’t take no shit / … don’t ever shut up / You gotta stand up and fight for it.”, which I think is closer to the old pop-punk Lavigne that we know, and lyrically does a better job of keeping the theme of the song. The saving grace for this song is that it reminds me of her 2007 song, “Girlfriend” in the beat of the song – to the point where “Dumb Blonde” could be a re-make, showing how Lavigne has grown from the “I want to be your girlfriend” to the “get outta my way” of 2019 Lavigne who isn’t taking shit from men anymore.
“Souvenir”, “Crush”, “Goddess”, and “Bigger Wow” Tell us there is still hope for Lavigne’s love life! Even referencing a possible new beau? The songs which come just before the close of the album bring a positive spin back to love and relationships. After the disheartening image you experience from “Birdie”, “I Fell in Love with the Devil”, and “Tell Me It’s Over” which all reference un-reciprocated love, compassion, and understanding in relationships, Lavigne switches from her toxic relationships of the past to her new, reinvented self. Nothing says “moving on” like picking yourself up and shocking the world with new music which is so drastically different from her old sound.
The song “Warrior” concludes the album perfectly. After she’s revealed
her darkest days to us, Lavigne tells us she’s not here for our pity – she’s
doing it to show her strength, and to encourage others to have faith in
themselves as well. The song features dramatic piano, and Lavigne asserting
herself, “I will not break / I will survive / I’m a warrior”.
How many of us would read a book where the protagonist doesn’t develop at all through the plot? So why should we expect Avril Lavigne to produce another cookie-cutter pop-punk album after all she’s gone through? For me, this album represents real struggle, growth, strength, and most of all hope in a future that will be better. Truer to reality than most of what comes on the radio today, I think Head Above Water is the most authentic Lavigne we’ve had yet. To those who think that the album is “boring”, I say: you’ll understand when you’re older.
“Fuck stereotypes. If you’re a
strong person and your partner can’t handle you, go find someone who has enough
self-confidence and can support you and lift you up and inspire you in your
life. As an equal.” Avril Lavigne said in an Instagram post hash tagged “Dumb
Blonde”. The Canadian artist is making a cherry-bomb comeback with her sixth
studio LP Album released in January, Head
Above Water.
The quick rat-a-tat-tat of drums opens
“Dumb Blonde” like a parade march…Avril is literally playing herself onto the
court with her own song. If that doesn’t scream “strong, independent woman” I don’t
know what does. After her 2014 diagnosis of Lyme disease, Avril has been through
physical and emotional stresses that should have left her in the dust. But
Avril proved the odds wrong, recovered, and now she’s here to say she’s “takin’
the lead”.
“Dumb Blonde” opens with lyrics and that electric guitar
which gives me serious “sk8er boi,” flashbacks. The song is the most upbeat
song on the album and it’s clear Avril is trying to show her fans that she
might have grown up, but she still knows how to have fun. Nothing is holding
her back, and she’s more confident than ever. Avril has a very Joan-Jett and
the Blackhearts “I love Rock ‘n’ Roll” sound in this song, and I think it suits
the theme of the song. Women shouldn’t be afraid to speak our minds and be recognized
for strength, independence and confidence, and we shouldn’t be condescended for
showcasing our abilities.
Interestingly the song was originally recorded as a solo
piece, but two weeks before the albums release, a verse with Nicki Minaj was
added. I’ll be honest, I’m not a huge Nicki fan. Unfortunately I don’t see the
point of her verse in the song. Avril really brings the feminist agenda here,
calling to people to stand up for strong women. Nicki, apart from being looked at as a feminist (for what,
though?) lends nothing to the song except a rap sound which refers to her own
work with another artist? Sorry Nicki, but I think you dropped the bomb in this
one.
Overall, if there’s one thing to take away from this, it’s that Avril really does have her A-game on, and she is bringing the heat to the court.
Avril Lavigne & Nicki Minaj in “Dumb Blonde” from Lavigne’s newest album, Head Above Water.
Terry ‘Lager” Lobzun adjusts his I-Pad on his mic stand before starting his performance.
The looming building with tinted windows and The Pogue – Irish Pub gilded across them
beckons you. A neon four-leaf-clover- shaped open sign buzzes merrily, and
below it a wooden sign welcomes you with the Gaelic drinking toast; Slàinte – to your
good health! You can’t see the crowd inside, but as you reach the heavy
wooden door it swings open wide as a couple emerge laughing, floating out on
the cacophony of bar chatter. You step in and are immediately enveloped by the
warm conversation and the aromas of battered food and Guinness. The atmosphere
is casual, easygoing – everybody is here for a good time, including the
musician setting up in the front alcove opposite the bar.
A cozy gathering of locals waits, as Terry “Lager” Lobzun, a
Wheatley wonder, sets up his equipment for the intimate audience, adjusting his
mic with his guitar slung across his back and his suave tweed fedora perched on
his head.
Finally, with I-Pad on stand, he plays.
And I understand why people call music transformative.
Terry’s face is transformed with emotion when he plays. Even for an audience of fifteen, Terry Lobzun’s soul flew through his fingers as he strummed, and his heart was on his tongue as he sang. The music fills your ears, but it’s Terry’s voice that fills your soul. It doesn’t matter if the songs are covers, he plays each with his own intensity and passion. His voice is a blend of Johnny Cash and Hozier – the perfect meld of old and new; soulful and breathy, like during his rendition of Howard Tate’s, “My Soul’s Got a Hole in It,” or Vance Joy’s “Riptide” – or driving deft punches in songs like Nathaniel Rateliff and the Nightsweats, “Son of a Bitch”. Every shout-out between verses is perfectly timed and playfully accentuated by a wink or eyebrow raise – always with a smile at the crowd. He had the perfect Barenaked Ladies fast-paced energy crammed into a tight space.
Terry strums emphatically, and his face reflects his passion for singing.
Terry played into the night off his own curated playlist or by request. Moving between folk, rock, and country songs effortlessly. I had the pleasure of asking Terry some questions during the intermission:
(Chelsea): “Do you make playlists with certain themes or
audiences in mind for shows?”
(Terry): “Well I have a list of about 100 songs prepared – I
never get through them all. But I just try and make sure everybody has a good
time, I don’t really stick to a theme – that’s why you see I have my I-Pad up
there – it’s a real Godsend,” he chuckles, “when you had music sheets, every
time a door opened pages would fly everywhere and I’d lose my place.”
(C): “I noticed you take a lot of requests, but I heard you
played an original song, ‘Just Breathe’ as well.”
(T): “I like all music, Gretta Van Fleet, George Ezra, Strawberry
Alarm Clock…But I love to write songs. I have about 200 sitting in a file. Everybody
can sing, but not everybody can write, and that’s what I like about it, it’s
unique.”
Terry resumed by playing his original “401”. The name Stompin Tom jumped to my mind as I
clapped along to the rhythmic country twang. The song is about a lover
travelling down the 401 from Kingston to Windsor to surprise his girl, only to find
that she had done the same. As Terry presented it with a humorous tone, “That
damn radar gun – caught me goin’ 130 down the highway 401,” the crowd was roaring.
Terry plans to continue doing shows because he loves making sure people have a good time. His son, Preston, works at a recording studio in London, Ontario, and they plan on working together to get Terry’s original work recorded.
Terry, whatever you do, you will always leave your audience
stunned. I’m eagerly awaiting more.
So Do dheagh Shlàinte! Everybody – to your good health as well.
Terry Lobzun’s fingers fly over the strings in “I Shot the Sheriff” while a local Wheatley man sings.
Fellow Canadian Chad Brownlee has made a sweet comeback with
the release of his newest single, “Forever’s Gotta Start Somewhere” just in
time for Valentine’s Day, and all those lovebirds out there who like to make
sappy playlists on Spotify (unless burning CD’s is still a thing?) for their significant
others. On January 4, 2019, Brownlee released his second major label single since
his latest album was released in 2016. Brownlee’s single, “Dear Drunk Me” from 2018,
bumped him up into the number 2 spot in the Canadian country music charts and
gained him his recent recognition.
Chad Brownlee is a mix of old-school country ideals with new
school country sound. Picture Tim McGraw meets Luke Combs’ down-to-earth vibes,
with Kane Brown’s sweetheart songs and themes, all mixed together in a big ol’
batch of Miss Bell’s sweet tea. “Forever’s Gotta Start Somewhere,” is a
hopeful, inspiring song about taking chances to find love – with a slow build
into a fun, fast-paced beat. The song starts with the classic country twang
which builds into electric guitar and tambourine which makes for a classic yet
fun sound.
“Forever’s Gotta
Start Somewhere,” definitely has a different flavour from his last single in
2016, “I Hate You for It”. Brownlee shows that he has grown up a bit. The song truly
shows Brownlee’s musical ability – he isn’t going to be another Florida Georgia
Line, with pop-country superficial sing-alongs. Brownlee shows he’s seriously a
grassroots country boy looking for love.
He is currently finishing his first major label debut album, and so far, the title of the album has not been released, leaving much to the imagination of his fans. Although if “Forever’s Gotta Start Somewhere” is an indication of what’s to come, it’s safe to say I’ll be waiting expectantly for some more heartfelt and authentic country music from Brownlee.
Chad Brownlee’s 2019 Single, “Forever’s Gotta Start Somewhere”
On January 30th of 2019, Alice Merton released MINT: in the making (part 1), the first part of a documentary series explaining her creative process for her debut album, Mint. Merton describes her songs in the documentary as “notes that I would put on a fridge,” as her songs a personally driven from her transient lifestyle. Many of her songs including “Homesick,” are meant to express the displacement she felt as part of her young life always moving around – but the notes are there to help her remember that life isn’t always so bad.
“Homesick,” opens with jazzy upbeat piano, and Merton’s soulful,
gravelly voice – which reminds me of Florence + the Machine but with a definitive
Taylor-Swift pop twist. To the ear, the first line, “I was the new kid / I was
scared of dogs and the weather,” starts the song off with an upbeat and playful
sound, while the lyrics reveal the underlying woe of a child in a new
environment, having to make new friends in a place which is entirely foreign to
them. The lyrics take a turn with Merton’s reminder – “tried my best to fit in
/ Started puttin’ it in a song” which is her self shout-out that life can’t be
all that bad when you can make beautiful music that touches and comforts others
who are in the same boat.
The chorus and post-chorus drives the upbeat sound further,
with the introduction of guitar and fast-paced hand clapping which adds to the pop
sound of the song.
The twenty-five-year-old singer/songwriter has shot to fame since her single, “No Roots,” was released in 2016. The song (which appears on Mint) beautifully unites the themes of the album which include the difficulties of relocation, of meeting and keeping long-distance friends, and the overall struggles of youth. Merton successfully captures what it is like to be a young adult trying to situate themselves in the larger context of life.
Notes on Notes 